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The Importance of Being Digital Paul Lansky 3/19/04 Tart-Lecture 2004
The Importance of Being Digital Paul Lansky 3/19/04 tART-lecture 2004 commissioneed by the tART Foundation in Enschede and the Gaudeamus Foundation in Amsterdam Over the past twenty years or so the representation, storage and processing of sound has moved from analog to digital formats. About ten years audio and computing technologies converged. It is my contention that this represents a significant event in the history of music. I begin with some anecdotes. My relation to the digital processing and music begins in the early 1970’s when I started working intensively on computer synthesis using Princeton University’s IBM 360/91 mainframe. I had never been interested in working with analog synthesizers or creating tape music in a studio. The attraction of the computer lay in the apparently unlimited control it offered. No longer were we subject to the dangers of razor blades when splicing tape or to drifting pots on analog synthesizers. It seemed simple: any sound we could describe, we could create. Those of us at Princeton who were caught up in serialism, moreover, were particularly interested in precise control over pitch and rhythm. We could now realize configurations that were easy to hear but difficult and perhaps even impossible to perform by normal human means. But, the process of bringing our digital sound into the real world was laborious and sloppy. First, we communicated with the Big Blue Machine, as we sometimes called it, via punch cards: certainly not a very effective interface. Next, we had a small lab in the Engineering Quadrangle that we used for digital- analog and analog-digital conversion. -
Dark German Romanticism and the Postpunk Ethos of Joy Division, the Cure and Smashing Pumpkins
University of South Carolina Scholar Commons Theses and Dissertations Fall 2020 Dark German Romanticism and the Postpunk Ethos of Joy Division, The Cure and Smashing Pumpkins Logan Jansen Hunter Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the German Language and Literature Commons Recommended Citation Hunter, L. J.(2020). Dark German Romanticism and the Postpunk Ethos of Joy Division, The Cure and Smashing Pumpkins. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/6182 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DARK GERMAN ROMANTICISM AND THE POSTPUNK ETHOS OF JOY DIVISION, THE CURE AND SMASHING PUMPKINS by Logan Jansen Hunter Bachelors in Arts University of South Carolina, 2017 Submitted in Partial Fulfillment of the Requirements For the Degree of Masters in German College of Arts and Sciences University of South Carolina 2020 Accepted by: Nicholas Vazsonyi, Director of Thesis Yvonne Ivory, Reader Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Logan Jansen Hunter, 2020 All Rights Reserved. ii DEDICATION To my Opa, who helped me to appreciate the complexities of music, understand the significance of history and inspire to learn the German language. Without him, this thesis would not have been possible. iii ACKNOWLEDGEMENTS I would like to express my gratitude to Dr. Nicholas Vazsonyi for his willingness to direct my thesis. I would also like to thank Will Whisenant, Ross and James Haynes, Max Gindorf, and C.J. -
DJ Song List by Song
A Case of You Joni Mitchell A Country Boy Can Survive Hank Williams, Jr. A Dios le Pido Juanes A Little Bit Me, a Little Bit You The Monkees A Little Party Never Killed Nobody (All We Got) Fergie, Q-Tip & GoonRock A Love Bizarre Sheila E. A Picture of Me (Without You) George Jones A Taste of Honey Herb Alpert & The Tijuana Brass A Ti Lo Que Te Duele La Senorita Dayana A Walk In the Forest Brian Crain A*s Like That Eminem A.M. Radio Everclear Aaron's Party (Come Get It) Aaron Carter ABC Jackson 5 Abilene George Hamilton IV About A Girl Nirvana About Last Night Vitamin C About Us Brook Hogan Abracadabra Steve Miller Band Abracadabra Sugar Ray Abraham, Martin and John Dillon Abriendo Caminos Diego Torres Absolutely (Story Of A Girl) Nine Days Absolutely Not Deborah Cox Absynthe The Gits Accept My Sacrifice Suicidal Tendencies Accidentally In Love Counting Crows Ace In The Hole George Strait Ace Of Hearts Alan Jackson Achilles Last Stand Led Zeppelin Achy Breaky Heart Billy Ray Cyrus Across The Lines Tracy Chapman Across the Universe The Beatles Across the Universe Fiona Apple Action [12" Version] Orange Krush Adams Family Theme The Hit Crew Adam's Song Blink-182 Add It Up Violent Femmes Addicted Ace Young Addicted Kelly Clarkson Addicted Saving Abel Addicted Simple Plan Addicted Sisqó Addicted (Sultan & Ned Shepard Remix) [feat. Hadley] Serge Devant Addicted To Love Robert Palmer Addicted To You Avicii Adhesive Stone Temple Pilots Adia Sarah McLachlan Adíos Muchachos New 101 Strings Orchestra Adore Prince Adore You Miley Cyrus Adorn Miguel -
Dancing on the Corpse's Ashes
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2011-01-01 "Dancing On The orC pse's Ashes": Analyzing The Emotional Use Of Music And Genre By At The Drive In And How It Communicates Border Identity Crystal A. Robert-Segura University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Communication Commons Recommended Citation Robert-Segura, Crystal A., ""Dancing On The orC pse's Ashes": Analyzing The motE ional Use Of Music And Genre By At The Drive In And How It Communicates Border Identity" (2011). Open Access Theses & Dissertations. 2572. https://digitalcommons.utep.edu/open_etd/2572 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. “DANCING ON THE CORPSE’S ASHES”: ANALYZING THE EMOTIONAL USE OF MUSIC AND GENRE BY AT THE DRIVE IN AND HOW IT COMMUNICATES BORDER IDENTITY CRYSTAL A. ROBERT-SEGURA DEPARTMENT OF COMMUNICATION APPROVED: __________________________________________ Richard D. Pineda, Ph.D., Chair __________________________________________ Stacey Sowards, Ph.D __________________________________________ Dennis Bixler-!"#$%&', Ph.D. __________________________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School( Copyright © by Crystal Robert-Segura 2011 “DANCING ON THE CORPSE’S ASHES”: ANALYZING THE EMOTIONAL USE OF MUSIC AND GENRE BY AT THE DRIVE IN AND HOW IT COMMUNICATES BORDER IDENTITY. By CRYSTAL A. ROBERT-SEGURA THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Communication THE UNIVERSITY OF TEXAS AT EL PASO May 2011 ACKNOWLEDGEMENTS First and foremost I would like to thank my thesis advisor, Dr. -
Feature • the Tossers------River Features Six National Rock Bands Along with One Nationally Known Local Band and Two Local Bands with a Lot of Upside Po- Tential
-----------Cover Story • Rage on the River ---------- Rock on the Water By Chris Hupe for their upcoming sophomore effort, tenta- tively scheduled for an early 2012 release. In As you walk through the city, you can a recent interview with Revolver magazine, feel the anticipation. Hale said, “The new songs sound amazing! No, it’s not anticipation for the upcom- We’re experimenting with different guitar ing football season, although that anticipa- tones and pushing ourselves outside of our tion is obviously sweeping through the city comfort zones so there will be many weird as well. The anticipation we’re talking about is for the Rage on the River all-day concert at HALESTORM Headwaters Park on August 20. Sponsored by the soon-to- be-opened downtown club New York, New York, Rage on the ---------------- Feature • The Tossers --------------- River features six national rock bands along with one nationally known local band and two local bands with a lot of upside po- tential. It’s a full day’s worth of rock worthy of cities twice the size of Fort Wayne, but taking place right here in our own com- munity and without that dreaded A Side of Brogue two-hour commute home. According to event organiz- By Mark Hunter Though not really looking for a replace- er Dino Zurzulo, one of the great ment on the violin, Pawula said he and his things about Rage on the River If you like your music fast and furious bandmates had just finished a gig in Madi- is that it’s not just another rock with a side of brogue and maybe a whiskey son, Wisconsin and were at a party when a concert; it actually fills a need. -
Billy "Crash" Craddock I Just Needed You for Tonight / Leave Your Love A'smokin' Mp3, Flac, Wma
Billy "Crash" Craddock I Just Needed You For Tonight / Leave Your Love A'Smokin' mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: I Just Needed You For Tonight / Leave Your Love A'Smokin' Country: US Released: 1981 Style: Country MP3 version RAR size: 1290 mb FLAC version RAR size: 1928 mb WMA version RAR size: 1444 mb Rating: 4.6 Votes: 948 Other Formats: MP4 ASF MMF WAV VOC DTS AAC Tracklist Hide Credits I Just Needed You For Tonight A 2:53 Written-By – Wallace*, Bell*, Skinner* Leave Your Love A'Smokin' B 2:29 Written-By – R. Reno*, W. Carson* Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Published By – Hall-Clement Publications Published By – Welk Music Group Published By – Screen Gems-EMI Music Inc. Published By – Ink, Inc. Published By – Colgems Music, Inc. Manufactured By – Capitol Records, Inc. Pressed By – Capitol Records Pressing Plant, Winchester Credits Producer – Dale Morris Notes From the LP "CRASH CRADDOCK" ST-12129 I Just Need You For Tonight - Published By – Hall-Clement Publications c/o The Welk Music Group - BMI Leave Your Love A'Smokin' Published By – Screen Gems-EMI Music Inc. / Ink, Inc. / Colgems-EMI Music, Inc. - BMI/ASCAP Barcode and Other Identifiers Rights Society (A side): BMI Rights Society (B side): BMI/ASCAP Matrix / Runout (A side label): S-82172 Matrix / Runout (B side label): S-82160 Matrix / Runout (A side runout etched): S-45-5011-82172 Z-2 denny/woodland —◁ Matrix / Runout (B side runout etched): S-45-5011-82160 Z-2 cp/woodland —◁ Other versions Category -
First-Quarter Music Preview
Quarterhoarse Ronnie Dunn First-Quarter Music Preview oesn’t take much to get Nashville’s promotion executives talking ’til they’re blue in the face about Dthe 2011 priority album and single releases. Saddle up and hold on tight as the labels trot out the artists and projects running next year’s race. And they’re off! Arista bow with the tongue-in-cheek single “Perfect Taking the inside rail is Arista with Alan Girl.” Also look for new music from Ira Dean, Jackson’s version of Johnny Cash’s “Ring formerly of Trick Pony. of Fire. “It’s the second single from his 34 Number Ones collection,” Nat’l Dir./Promotion BBR Lesly Tyson tells us. “And it’s the follow-up Two men and a lady (eh?) is the theme at BBR to a huge duet with the Zac Brown Band, ‘As in the New Year. James Wesley is set to release She’s Walking Away.’” an album with a yet-to-be-determined title. “With Trickle-crowned CMA Entertainer of the the success of ‘Real’ and all the radio research Year Brad Paisley (“Water,” H2O Tour ... get we’re seeing, this will be a big release,” promises it?) is next out of the gate, with a studio album SVP/Promotion Carson James. in April. Lead single “This is Country Music,” Jason Aldean’s pairing with Kelly which he debuted at the 44th Annual CMA Clarkson and their widely praised CMA Awards, is now at radio. “The song began as Awards performance was just the beginning. a remarkable moment on the Awards and has The single, “Don’t You Wanna Stay,” is turned into a larger-than-life country anthem,” already climbing the charts, and Aldean is still Tyson says. -
Perspectives on Jim Morrison from the Los
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Criticism lighting his fire: perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and the Miami Herald Melissa Ursula Dawn Goldsmith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Goldsmith, Melissa Ursula Dawn, "Criticism lighting his fire: perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and the Miami Herald" (2007). LSU Master's Theses. 2872. https://digitalcommons.lsu.edu/gradschool_theses/2872 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. CRITICISM LIGHTING HIS FIRE: PERSPECTIVES ON JIM MORRISON FROM THE LOS ANGELES FREE PRESS, DOWN BEAT, AND THE MIAMI HERALD A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Melissa Ursula Dawn Goldsmith B.A., Smith College, 1993 M.A., Smith College, 1995 M.L.I.S., Louisiana State University, 1999 C.L.I.S., Louisiana State University, 2002 Ph.D., Louisiana State University, 2002 December 2007 © 2007 Melissa Ursula Dawn Goldsmith All Rights Reserved ii To my mother Ursula, who introduced me to the many wonders of Venice Beach, Santa Monica Pier, and to the music of The Doors. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Bildung Culture: Elite Popular Music and the American University, 1960–2010 A Dissertation Presented by David Kenneth Blake to The Graduate School in Partial Fullfillment of the Requirements for the Degree of Doctor of Philosophy in Music (Music History/Theory) Stony Brook University May 2014 Stony Brook University The Graduate School David Kenneth Blake We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Peter Winkler – Dissertation Advisor Professor, Music Judith Lochhead – Chairperson of Defense Professor, Music Stephen Decatur Smith – Committee Member Assistant Professor, Music Robert Fink – Outside Reader Professor, Department of Music, University of California-Los Angeles This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Asbtract of the Dissertation Bildung Culture: Elite Popular Music and the American University, 1960–2010 by David Kenneth Blake Doctor of Philosophy in Music History and Theory Stony Brook University 2014 Milton Babbitt’s 1958 article “The Composer as Specialist” (in)famously aligned the scientific aspirations of avant-garde art music with the university’s mission of disinterested research. More recently, musicologists have criticized the alleged resultant hermitage of modernist styles within academia by asserting universities’ separation from “public” musical culture. However, the growth of the American university in terms of population and social power since the mid-twentieth century has enlarged rather than mitigated the institution’s societal influence. -
Dan Seals Classics Collection Volume 2 Mp3, Flac, Wma
Dan Seals Classics Collection Volume 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Classics Collection Volume 2 Country: Canada Released: 1992 Style: Country MP3 version RAR size: 1297 mb FLAC version RAR size: 1167 mb WMA version RAR size: 1148 mb Rating: 4.9 Votes: 327 Other Formats: MIDI WAV DXD FLAC AAC APE RA Tracklist A1 Love On Arrival A2 Everything That Glitters (Is Not Gold) A3 Big Wheels In The Moonlight A4 Good Times A5 One Friend B1 Bop B2 Addicted B3 Still A Little Bit Of Love B4 You Really Go For The Heart B5 Wood Companies, etc. Record Company – Capitol Records, Inc. Phonographic Copyright (p) – Capitol Nashville Copyright (c) – Capitol Nashville Distributed By – Capitol Records-EMI Of Canada Credits Producer – Kyle Lehning Sleeve Notes – Patsi Cox* Notes © 1992 ℗ 1992 Capitol Nashville, a division of Capitol Records, Inc. Made in Canada All selections previously released. Also available on compact digital disc. Barcode and Other Identifiers Barcode: 0 7777-96384-4 4 Barcode (String): 077779638444 Other (Quality hype): [XDR]™ Other versions Category Artist Title (Format) Label Category Country Year Classics Collection Volume 2 C4-96384 Dan Seals Capitol Nashville C4-96384 US 1992 (Cass, Comp, Dol) Classics Collection Volume 2 C2-96384 Dan Seals Capitol Nashville C2-96384 Canada 1992 (CD, Comp) Related Music albums to Classics Collection Volume 2 by Dan Seals Anne Murray - A Country Collection Chris LeDoux - Rodeo Rock And Roll Collection Keith Urban - Defying Gravity Keith Urban - Get Closer Tanya Tucker - Greatest Hits Encore Larry Gatlin And The Gatlin Brothers - Live At 8:00 P.M. -
Repetition in Gothic Music As . Haunted Empowerment
POSTMODERN POETICS OF THE GOTHIC: REPETITION IN GOTHIC MUSIC AS . HAUNTED EMPOWERMENT A Thesis submitted to the faculty of San Francisco State University Zc\1 In partial fulfillment of the requirements for L' the Degree Master of Arts In English: Literature by Caniela M. Price San Francisco, California May, 2019 Copyright by Daniela M. Price 2019 POSTMODERN POETICS OF THE GOTHIC: REPETITION IN GOTHIC MUSIC AS HAUNTED EMPOWERMENT Daniela M. Price San Francisco, California 2019 In my exploration of the Gothic genre—as poetry, community and practice—I analyze how Gothic musical compositions use repetition to haunt their readers. In doing so, I reveal the ways in which these texts and their audience use repeated encounters with pain—hauntings—as a means to access agency in everyday life. I argue that Gothic music’s characteristic preoccupation with painful affects and self-conscious production demonstrates to willing subjects the power possible in a haunted existence. I carry out my investigation in three parts: first, I put forth the aims of my investigation and outline the theoretical frameworks I use to accomplish said &-ns. The following chapters then focus on an analysis of two songs that exemplify the emotional extremes that Gothic music frequently uses to bring about Gothic agency. I certify that the Abstract is a correct representation of the content of this thesis. Date CERTIFICATION OF APPROVAL I certify that I have read Postmodern Poetics of the Gothic: Repetition in Gothic Music as Haunted Empowerment by Daniela M. Price, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: English Literature at San Francisco State University. -
Ringtones, Or the Auditory Logic of Globalization
WORK & CULTURE Ringtones, or the Auditory Logic of Globalization Sumanth Gopinath Working Group on The Cellphone Project: Demobilizing, Globalization and Culture, Delinking, Disconnecting the Yale University Commodity Chain Work & Culture 2004/2 http://www.yale.edu/laborculture/work_culture/ Gopinath | Ringtones You hear them everywhere. Ringtones, or the specialized sounds used to alert mobile phone owners that someone is calling them, are liable to sound within earshot in almost every conceivable modernized public and private space. Their unmistakable, ubiquitous presence is found on streets and sidewalks; in offices and workplaces; in buses, trains, subways, and cars; in shops and malls; in schools and public buildings; in concert halls and performance spaces; in parks and outdoor areas; and in homes and places of residence—houses, apartments, condominiums, dormitories, trailers, hotels. As some scholars have noted, cellular telephones are becoming a central feature in popular music and everyday sonic experience.1 But although few have been untouched by the dramatic shifts in global auditory cultures during the last ten to fifteen years due to mobile telephony, almost no scholars have as of yet deemed the ringtone worthy of serious investigation.2 Much more than simply an ancillary phenomenon—merely a part of the mobile phone—I would like to suggest here that ringtones are central to the contemporary sonic imaginary and are in several ways indicative of the transformations in capitalism taking place in the wake of the Third Industrial (or digital) Revolution. In particular, the commodification of the ringtone, motivated by a groundswell of demand and facilitated by the easy production of digitally-coded information, has progressed quickly in a series of stages or moments from the initial, functional ringtone to the tone as a digital sound file.