Autechre Tri Repetae Mp3, Flac, Wma

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Autechre Tri repetae mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Tri repetae Country: Japan Released: 1995 Style: Techno, Ambient MP3 version RAR size: 1492 mb FLAC version RAR size: 1616 mb WMA version RAR size: 1940 mb Rating: 4.9 Votes: 223 Other Formats: AHX AUD WAV AA MPC RA AIFF Tracklist 1 Dael 6:39 2 Clipper 8:34 3 Leterel 7:08 4 Rotar 8:04 5 Stud 9:40 6 Eutow 4:15 7 C/Pach 4:39 8 Gnit 5:49 9 Overand 7:33 10 Rsdio 10:08 Credits Design – Cunningham*, Haswell*, The Designers Republic Design [Sticker] – tdr* Producer – Ae* Written-By – Brown*, Booth* Notes Warp Music/EMI music. ℗ & © 1995 Warp Records. All rights reserved. Made In England Sticker on front reads "Incomplete without surface noise. Disposable Information." Inlay consists of three separate cards, one with the monochrome cover and credits on reverse, the other two with 'machine' artwork on both sides. Barcode and Other Identifiers Barcode (Printed): 5 021603 038127 Matrix / Runout: 95404 WARPCD38 Mastering SID Code: IFPI L041 Mould SID Code: IFPI 7302 Other versions Category Artist Title (Format) Label Category Country Year warpcd38 Autechre Tri Repetae (CD, Album) Warp Records warpcd38 UK 1995 Sony Records, Warp SRCS 7958 Autechre Tri Repetae (CD, Album) SRCS 7958 Japan 1996 Records Tri Repetae (CD, Album, warpcd38 Autechre Warp Records warpcd38 Russia 2000 Unofficial) TVT Records, TVT Tri Repetae (CD, Album, Records, Wax Trax! tvt7239-2v Autechre Promo + CD, Comp, tvt7239-2v US 1996 Records, Wax Trax! Promo) Records warpcd38 Autechre Tri Repetae (CD, Album) Warp Records warpcd38 UK Unknown Comments about Tri repetae - Autechre Related Music albums to Tri repetae by Autechre Autechre - LP5 Autechre & The Hafler Trio - æo³ & ³hæ Jake Slazenger - Nautilus Chris Clark - Empty The Bones Of You Various - Blech II: Blechsdöttir Masami Akita & Russell Haswell - Satanstornade Autechre - Oversteps Autechre - EP7 Autechre - Anvil Vapre Autechre - Garbage.

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Felix Issue 1131, 1999
issue 1145 University Teachers Approve Strikes The Association of University Teachers voted for other actions less severe than (AUT) has voted to take industrial By Ed Sexton striking. The AUT claims that its mem• action, following a ballot of its mem• bers have not received the pay bers held last month. This will most increases that they are due, with the likely manifest itself as a one day strike General Secretary, David Friesman, later this month, which could affect commenting "vice-chancellors can pay lectures and exams for many students. themselves nearly 7% extra this year, The strike is the result of a failure to but offer their staff only half that reach agreement in the current pay amount, the more we do the less we dispute, which has gone on for several get." months. The debate on whether to go In late March the AUT authorised a ahead with the strike was due to be ballot of its members after rejecting held last Thursday, after Felix went to the 3% pay increase offered by the press. According to the AUT document University and Colleges Employers Asso• "Action for a fair deal" the most likely ciation (UCEA). Determined to pursue date for a 24 hour strike is Tuesday 25 a 10% pay increase, a ballot was May, but the text warns that "the Exec• announced for April, with a possible utive Committee is instructed to con• strike taking place at the end of May. sider calling further strike or strikes in In early April UCEA put forward their the early part of the next academic final offer of 3.5%, which was immedi• year".
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Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
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Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player.
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UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno .........................................
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Generative Rhythmic Models
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarly Materials And Research @ Georgia Tech GENERATIVE RHYTHMIC MODELS A Thesis Presented to The Academic Faculty by Alex Rae In Partial Fulﬁllment of the Requirements for the Degree Master of Science in Music Technology in the Department of Music Georgia Institute of Technology May 2009 GENERATIVE RHYTHMIC MODELS Approved by: Professor Parag Chordia, Advisor Department of Music Georgia Institute of Technology Professor Jason Freeman Department of Music Georgia Institute of Technology Professor Gil Weinberg Department of Music Georgia Institute of Technology Date Approved: May 2009 TABLE OF CONTENTS LIST OF TABLES . v LIST OF FIGURES . vi SUMMARY . viii I INTRODUCTION . 1 1.1 Background . 6 1.1.1 Improvising Machines . 6 1.1.2 Theories of Creativity . 8 1.1.3 Creativity and Style Modeling . 10 1.1.4 Graphical Models . 10 1.1.5 Music Information Retrieval . 11 II QAIDA MODELING . 14 2.1 Introduction to Tabla . 15 2.1.1 Theka . 19 2.2 Introduction to Qaida . 20 2.2.1 Variations . 21 2.2.2 Tihai . 22 2.3 Why Qaida? . 22 2.4 Methods . 24 2.4.1 Symbolic Representation . 29 2.4.2 Variation Generation . 31 2.4.3 Variation Selection . 35 2.4.4 Macroscopic Structure . 38 2.4.5 Tihai . 38 2.4.6 Audio Output . 39 2.5 Evaluation . 40 iii III LAYER BASED MODELING . 47 3.1 Introduction to Layer-based Electronica . 49 3.2 Methods . 51 3.2.1 Source Separation . 55 3.2.2 Partitioning .
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Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
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Autechre Envane Mp3, Flac, Wma
Autechre Envane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Envane Country: UK Released: 1997 Style: Abstract, IDM MP3 version RAR size: 1213 mb FLAC version RAR size: 1665 mb WMA version RAR size: 1291 mb Rating: 4.2 Votes: 410 Other Formats: MMF XM ADX AHX APE MP1 FLAC Tracklist 1 Goz Quarter 9:43 2 Latent Quarter 7:37 3 Laughing Quarter 7:05 4 Draun Quarter 10:50 Companies, etc. Published By – Warp Music Published By – EMI Music Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Credits Design – The Designers Republic Producer – Ae* Written-By – Brown*, Booth* Notes Warp Music EMI Music. (P) 1997 Warp Records Ltd (C) 1997 Warp Records Ltd. Made In England. Released in a standard jewel case with clear tray and 4-page booklet. "Goz Quarter" samples a lyric from Dr. Octagon's "No Awareness". Barcode and Other Identifiers Barcode (Printed): 5021603089020 Matrix / Runout (Variant 1): 83191 WAP89CD Matrix / Runout (Variant 2): 95637 WAP89CD 1:1:1 Matrix / Runout (Variant 3): 83191 WAP89CD 1:1:3: Matrix / Runout (Variant 4): WAP89CD Matrix / Runout (Variant 5): 83191 WAP89CD 1:1:4 Matrix / Runout (Variant 6): 83191 WAP89CD I:1:8 Mastering SID Code (Variant 1, 3, 5, 6): IFPI L042 Mastering SID Code (Variant 2): IFPI L041 Mastering SID Code (Variant 4): IFPI LR61 Mould SID Code (Variant 1, 5): none Mould SID Code (Variant 2): IFPI 7306 Mould SID Code (Variant 3): IFPI 7305 Mould SID Code (Variant 4): IFPI RZ08 Mould SID Code (Variant 6): IFPI 7303 Other versions Category Artist Title (Format) Label Category Country Year WAP 89 CDP Autechre Envane (CD, EP, Promo) Warp Records WAP 89 CDP UK 1997 WAP 89 Autechre Envane (12") Warp Records WAP 89 UK 1997 WAP89 Autechre Envane (12", W/Lbl, Sti) Warp Records WAP89 UK 1997 WAP 89X Autechre Envane (12") Warp Records WAP 89X UK 1997 WAP 89CD Autechre Envane (CD, EP, RP) Warp Records WAP 89CD UK Unknown Comments about Envane - Autechre Quendant One of my faves in the Autechre catalog.
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Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulﬁllment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona.
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Newslist Drone Records 31. January 2009
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Critic-2013-7.Pdf
Student Tickets $79 (+BF) WIN YOURSELF SOME TICKETS! TWO AWESOME CHANCES TO GET YOURSELF TO THE GIG THETHE QUESTQUEST FORFOR. THETHE ULTIMATEULTIMATE AEROGUITARSMITHAEROGUITARSMITH Thursday 18th April 12pm at Market Day RECREATERECREATE ANAN AEROSMITHAEROSMITH ANTHEMANTHEM and win your at tickets to the concert check out OUSA Facebook for details on how to win. STUDENT TICKETS $79(+BF) LIMITED NUMBERS AVAILABLE AT THIS PRICE, BOOK NOW AT FORSYTH BARR 2 | STADIUM, fb.com/critictearohi REGENT THEATRE OR THE EDGAR CENTER WITH STUDENT ID. EDITOR Callum Fredric [email protected] Issue 07 | April 15, 2013 | critic.co.nz DEPUTY EDITOR Zane Pocock [email protected] TECHNICAL EDITOR Sam Clark DESIGNER Dan Blackball 16 FEATURE WRITERS Loulou Callister-Baker, Maddy Phillipps NEWS FEATURES NEWS TEAM Zane Pocock, Claudia Herron, 06 | Anonymous Jerk Knocks 16 | Evidence of a Mid-Life Crisis Bella Macdonald Over Cones Loulou Callister-Baker discovers boxes in the attic containing evidence of a SECTION EDITORS 07 | Lord Monckton man’s mid-life crisis, complete with nude Sam McChesney, Basti Menkes, sketches and low-quality weed. Baz Macdonald, Josef Alton, 08 | Racist Danish Runs Gus Gawn, Tristan Keillor Rampant 20 | Three Fables of Dunedin’s Forgotten Flatters 09 | Driver admits liability in Shamelessly stealing Loulou’s idea, CONTRIBUTORS cycle death Callum Fredric tells three untold stories Thomas Stevenson, Josie Cochrane, from Dunedin’s past based on books and Sarah Bayly, Thomas Raethel, documents found at a friend’s flat. Sara Lamb-Miller, Jamie Breen, Catherine Poon, Nick Jolly, 26 | The Little Foetus in the Lucy Hunter, Gerard Barbalich, Pink Knitted Cap Campbell Ecklein, Jess Cole, A poem by Maddy Phillipps in memory Phoebe Harrop, Elsie Stone, of the little foetus in the pink knitted cap.
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Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.
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Discographie Pour Site
DISCOGRAPHIE Juin 2011 HOUSE M USIC / A CID H OUSE Née en 1986, la House music est issue des FELIX DA H OUSECAT dancefloors de Chicago. Elle tiendrait son nom Kitten and thee glitz 6 FEL 41 d’un club le « Warehouse » où régnait à l’époque un orfèvre des platines le DJ Frankie Knuckles FAITHLESS désigné comme le pionnier de ce mouvement Sunday 8PM 2 FAI 91 musical. SOUL II S OUL La House est une musique de danse répétitive. Club classics : Vol.one 6 SOU 80 Elle se compose à la base d’un rythme minimal donné par un pied de grosse caisse synthétique MOTORBASS fortement accentué marquant chaque temps, Pansoul 6 MOT 30 d’une ligne de basse et de samples tirés du disco, de la soul et du funk. « 2 Future 4 U » C’est ensuite en 1987 que l’on a pu entendre ARMAND V AN H ELDEN pour la première fois de l’Acid House. Les London Records 1999 inventeurs sont DJ Pierre et Spanky qui ont 6 VAN 30 trouvé le son « Acid » en s’amusant avec les boutons d’une petite boîte Bassline TB 303 de la marque Roland censée remplacer de manière Armand van Helden est considéré comme un des synthétique des sons de basse. L’Acid House est plus grands DJ’s de house des années 90. En introduite peu après en Angleterre et devient 1992, il sort ses premiers albums en remixant des rapidement un élément central de la scène rave, grands noms puis devient celui auquel font appel le « smiley» jaune en étant l’emblème, tandis les artistes pop pour se faire remixer.
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