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The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos)
7/5/2017 The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) JUNE 20, 2017 BY JASON DEBORD Fans of The Moody Blues got to experience the band like never before on Sunday night at Ironstone Amphitheatre.c Featuring “an evening with…” style concert presentation, The Moody Blues played two full sets in front of the massive crowd in attendance, the Úrst with various hits from their career and the second presenting a track by track playing of every songs from their groundbreaking album, Days of Future Passed, which celebrates it’s 50th anniversary this year.c They looked and sounded great, and there was a lot of magic in the air as they recreated this landmark album live on stage. http://rocksubculture.com/2017/06/20/the-moody-blues-at-ironstone-amphitheatre-murphys-california-6182017-concert-review-photos/ 1/10 7/5/2017 The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) What: Days of Future Passed 50th Anniversary Tour Who: The Moody Blues Venue: Ironstone Amphitheatre at Ironstone Vineyards Where: Murphys, California Promoter: Richter Entertainment Group When: June 18, 2017 Seating: (house photographer) Richter Entertainment Group’s Summer Concert Season at Ironstone Amphitheatre in Murphys in 2017 features Toby Keith, Boston, Joan Jett & The Blackhearts, John Mellencamp, The Moody Blues, Jason Mraz, Lindsey Buckingham and Christine McVie, matchbox twenty, Counting Crows, Steve Miller Band, Peter Frampton, Willie Nelson, Kenny G, George Benson, and more!c It’s all taking place in June, July, August and September this year. -
Moody Blues Release
Adrian Bohm Presents…… THE MOODY BLUES WORLD TOUR 2005 MELBOURNE PALAIS THEATRE SUNDAY APRIL 10 SYDNEY STATE THEATRE TUESDAY APRIL 12 WEDNESDAY APRIL 13 THURSDAY APRIL 14 BRISBANE CONVENTION CENTRE SATURDAY APRIL 16 With a career that spans almost 40 years The Moody Blues are one of the most enduring rock bands in music history. They have generated a legendary list of hit songs that are regarded as some of the most groundbreaking and innovative music of our time. Justin Hayward, John Lodge and Graeme Edge continue their magical music legacy with the first Australian tour in 18 years. A legendary band with an incredible list of hits including NIGHTS IN WHITE SATIN, RIDE MY SEE SAW, THE STORY IN YOUR EYES, ISN’T LIFE STRANGE, QUESTION, I’M JUST A SINGER IN A ROCK AND ROLL BAND, to name few. The Moody Blues have sold over 55 millions albums and received multi platinum and gold albums and have, over the course of several decades, performed sold out tours, making them one of the top grossing album and touring bands ever. The Moody Blues first album DAYS OF FUTURE PASSED was released in 1967 and was a ground breaking concept album that for the first time fused an orchestra with electric guitars. The album was so unique in its approach that it became a landmark moment in popular music history. Their record company, Decca Records had requested that the band record an album to test stereo recording, which was in its infancy at the time. Decca being a mainly classical label asked the Moody Blues to record a rock version of Dvorak’s 9th Symphony. -
The Musical Characteristics of the Beatles
The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour. -
ENT Hayward Prepdf
Twenty-First Century Troubadour: Justin Hayward on French Connections, Songwriting, and Literature Interview with Barbara Havercroft Born in 1946 in Swindon, England, Justin Hayward is the lead singer, song- writer, and guitarist with the legendary band The Moody Blues. His renowned, highly successful career in music is now in its sixth decade, and is characterized by excellence and innovation in popular music. The Moody Blues have sold more than seventy million albums and have been awarded more than a dozen platinum and gold discs. Justin Hayward has also released seven solo albums and has received numerous prestigious awards, such as the Ivor Novello Award for Outstanding Achievement in Music, awarded in May 20131. The following telephone interview was conducted at the University of Toronto on Monday, June 10, 2013. Barbara Havercroft §1 After you and John Lodge joined the Moody Blues in August, 1966, the band continued performing the rhythm and blues music played by the previous incarnation of the group. At this point, in the late sixties, you and your four band- mates decided to travel to Belgium to work. Why did you choose Belgium? Were there conditions in Belgium that were conducive to the band’s metamorphosis and the conception of new material, including the Days of Future Passed composi- tions2? Justin Hayward Actually, the band’s metamorphosis came a bit later. You must remember that nothing is planned in this band. We just stumble into things and lucky accidents and great big slices of luck happen to us. So there was no plan. We went to Belgium playing the old rhythm and blues set, which we continued playing for about three or four months after John and I joined [the group] and we simply weren’t very good at it. -
Edinburgh Research Explorer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Edinburgh Research Explorer Edinburgh Research Explorer ‘Grand Masters of Vinyl’ Citation for published version: Walker, G 2008, '‘Grand Masters of Vinyl’' The Times Higher, pp. 41-44. Link: Link to publication record in Edinburgh Research Explorer Document Version: Preprint (usually an early version) Published In: The Times Higher General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Feb. 2015 Off Piste: Grand masters of vinyl 11 September 2008 Prog rock devotee Greg Walker takes an affectionate look at an intelligent and gloriously ambitious genre, and asks us to celebrate the era when rock's dinosaurs roamed the Earth In the beginning were the Prog Lords: vast, bloated rock beasts who bestrode the musical world like colossi, force-feeding alienated audiences with their vacuous musical excess. Then came punk to save the world by blowing them all away. That, at least, is what standard histories of popular music would have us believe. -
The Moody Blues Tour / Set List Project - Updated April 9, 2006
The Moody Blues Tour / Set List Project - updated April 9, 2006 compiled by Linda Bangert Please send any additions or corrections to Linda Bangert ([email protected]) and notice of any broken links to Neil Ottenstein ([email protected]). This listing of tour dates, set lists, opening acts, additional musicians was derived from many sources, as noted on each file. Of particular help were "Higher and Higher" magazine and their website at www.moodies- magazine.com and the Moody Blues Official Fan Club (OFC) Newsletters. For a complete listing of people who contributed, click here. Particular thanks go to Neil Ottenstein, who hosts these pages, and to Bob Hardy, who helped me get these pages converted to html. One-off live performances, either of the band as a whole or of individual members, are not included in this listing, but generally can be found in the Moody Blues FAQ in Section 8.7 - What guest appearances have the band members made on albums, television, concerts, music videos or print media? under the sub-headings of "Visual Appearances" or "Charity Appearances". The current version of the FAQ can be found at www.toadmail.com/~notten/FAQ-TOC.htm I've construed "additional musicians" to be those who played on stage in addition to the members of the Moody Blues. Although Patrick Moraz was legally determined to be a contract player, and not a member of the Moody Blues, I have omitted him from the listing of additional musicians for brevity. Moraz toured with the Moody Blues from 1978 through 1990. From 1965-1966 The Moody Blues were Denny Laine, Clint Warwick, Mike Pinder, Ray Thomas and Graeme Edge, although Warwick left the band sometime in 1966 and was briefly replaced with Rod Clarke. -
A Brief History of Analog Synthesis Ondioline
Product Information Document Synthesizers and Samplers K-2 Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format ## Amazing analog synthesizer with dual VCO design allows for insanely fat music creation ## Authentic reproduction of original circuitry with matched transistors A Brief History of and JFETs Analog Synthesis ## Pure analog signal path based on The modern synthesizer’s evolution authentic VCO, VCF and VCA designs began in 1919, when a Russian physicist ## Semi-modular architecture named Lev Termen (also known as with default routings requires no patching for immediate Léon Theremin) invented one of the performance first electronic musical instruments – ## First and second generation filter the Theremin. It was a simple oscillator design (high pass/low pass with peak/resonance) that was played by moving the performer’s hand in the vicinity of the ## 4 variable oscillator shapes with variable pulse widths and ring instrument’s antenna. An outstanding modulation for ultimate sounds example of the Theremin’s use can be ## Dedicated and fully analog heard on the Beach Boys iconic smash triangle/square wave LFO hit “Good Vibrations”. ## 2 analog Envelope Generators for modulation of VCF and VCA ## 16-voice Poly Chain allows Ondioline combining multiple synthesizers for In the late 1930s, French musician up to 16 voice polyphony Georges Jenny invented what he called ## Complete Eurorack solution – the Ondioline, a monophonic electronic main module can be transferred keyboard capable of generating a wide range to a standard Eurorack case of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by ## 36 controls give you direct and real-time access to all important depressing a key and using side-to-side finger parameters movements. -
HOLLYWOOD BOWL 2017 SEASON Chronological Listing of Events
HOLLYWOOD BOWL 2017 SEASON Chronological Listing of Events JUNE 2017 PLAYBOY JAZZ FESTIVAL Saturday, June 10, at 3 PM (Non-subscription) PLAYBOY JAZZ FESTIVAL CORINNE BAILEY RAE TAJMO’: THE TAJ MAHAL & KEB’ MO’ BAND HUDSON with JACK DEJOHNETTE, LARRY GRENADIER, JOHN MEDESKI, JOHN SCOFIELD Master of Ceremonies GEORGE LOPEZ PLAYBOY JAZZ FESTIVAL Sunday, June 11, at 3 PM (Non-subscription) GREGORY PORTER COMMON THE KENNY GARRETT QUINTET with Dancers Master of Ceremonies GEORGE LOPEZ NON-SUBSCRIPTION Thursday, June 15, at 8 PM PHOENIX THE LEMON TWIGS Grammy-winning French pop rock band Phoenix returns to the Bowl with their emotionally upbeat sounds and infectious hooks. NY’s teenage buzz band of brothers, The Lemon Twigs, open. OPENING NIGHT AT THE Saturday, June 17, at 8 PM HOLLYWOOD BOWL *Fireworks* OPENING NIGHT with (Non-subscription) THE MOODY BLUES HOLLYWOOD BOWL ORCHESTRA THOMAS WILKINS, conductor What better way to launch the Bowl season than with the 50th anniversary of The Moody Blues’ world- shattering album Days of Future Passed (“Night in White Satin,” “Tuesday Afternoon,” etc.), along with more of their greatest hits! Add the Bowl’s fabulous fireworks and it will be an opening night to remember. Proceeds support the LA Phil and its education and community programs. KCRW’S WORLD FESTIVAL Sunday, June 18, at 7 PM REGGAE NIGHT XVI ZIGGY MARLEY with ORCHESTRA THE SPECIALS U-ROY HOLLYWOOD BOWL ORCHESTRA THOMAS WILKINS, conductor Seven-time Grammy®-winner Ziggy Marley makes his orchestral debut playing an unforgettable set of his and his father Bob Marley’s music. Forty years after forming in the U.K., legendary ska band The Specials are still delivering the inspired musical anarchy between punk and reggae in rousing, high- energy shows. -
Monarch Database: Known Release Information for Monarch-Pressed LP's (Revision of 11 Ag 20) Monarch Artist Title Label Cat
Monarch Database: Known Release Information for Monarch-pressed LP's (Revision of 11 Ag 20) Monarch Artist Title Label Cat. # Number Year Month Day Info Chet Baker Sings and Plays with Bud Shank… Pacific Jazz PJ-1202 △ 3268/9-12 1955 c. March Chet Baker The Trumpet Artistry Pacific Jazz PJ-1206 △ 31 1955 November 26 Gerry Mulligan Quartet Paris Concert Pacific Jazz PJ-1210 △ 37/8 1956 LP released 3/3/1956 Gerry Mulligan Quartet Gerry Mulligan Quartet Pacific Jazz PJ-1207 △ 32/41 1956 LP released 12/3/1955 Chico Hamilton Quintet Chico Hamilton Quintet Pacific Jazz PJ-1209 △ 49 1956 LP released January, 1956 Pinky Winters Lonely One Creative/Argo ALP-604 △ 119/147 1956 LP released 8/1956 The Five Keys Best of the Five Keys Aladdin LP-806 △ 189/90 1957 June LP released 12/8/1956 The Five Keys On the Town Score SLP-4003 △ 189/90 1957 June 3 Ahmad Jamal Count 'Em 88 Argo LP-610 △ 221/2 1957 May 20 LP released May 20, 1957 Johnny Cash With his Hot and Blue Guitar Sun SLP-1220 △ 248/9 1957 November 11 Carl Perkins Dance Album Sun SLP-1225 △ 250/1 1957 November Kermit Schaefer Pardon My Blooper, Vol. 2 Jubilee PMB-2 △ 282/3 1957 November Kermit Schaefer Pardon My Blooper, Vol. 4 Jubilee PMB-4 △ 294/-- 1957 November Kermit Schaefer Pardon My Blooper, Vol. 3 Jubilee PMB-3 △ 295/6 1957 November Kermit Schaefer Comedy of Errors Jubilee JGM-2001 △ 300/1 1957 November reissue of LP-2 Chuck Berry After School Session Chess LP-1426 △ 316/7 1957 October LP released May 20, 1957 Ella Fitzgerald and Louis Armstrong Ella and Louis Again Verve MGV-4006-2 △ 363/4 1957 October 11 First mention: 10/14/57 Kermit Schaefer Pardon My Blooper, Vol. -
The Inclusive Experience in British Progressive Rock of the 1960S and 1970S
Listening to images, reading the records: The inclusive experience in British progressive rock of the 1960s and 1970s Tymon Adamczewski, Kazimierz Wielki University in Bydgoszcz Abstract The article concerns the form of experience offered by the British progressive rock of the late 1960s and early 1970s in the light of the tendency to view the genre through the prism of modernism. The materiality of key musical albums within the genre—through elaborate aesthetic construction and reliance on literary ideas—played an indispensable role in interacting with the records. I argue that through constructing a narrative message in the form of record covers, progressive rock could be treated as a literary form which functions according to what Nicholas Royle describes as veering and which allows to avoid problems associated with considering the genre as modern or postmodern. Key words: experience, progressive rock, veering, postmodernism Introduction The two paintings have a lot in common: an attempt to render feelings of distress, desperation and a sense of urgency in reaching out to the audience. Both are images of iconic status; both are similarly expressionistic in representing their subject matter and, significantly, both depict screaming figures. In fact, the paintings in question, Edvard Munch’s The Scream (1893) and the cover of King Crimson’s In the Court of the Crimson King (1969), are not only documents of their zeitgeist but may still have an important story to tell about the overlapping areas in the experience of images, music and words. Munch’s chronologically earlier painting, widely acknowledged as an epitome of modernist art, is an easily identifiable inspiration for Barry Goldber’s emblematic record cover of what is often considered as one of the defining examples of progressive rock. -
Moody Blues Coming in Concert to the PAC June 7, 8
Cal Poly PAC To Host the Moody Blues June 7 & 8 2005 http://www.calpolynews.calpoly.edu/news_releases/2005/march_05/mo... Skip to Content Search Cal Poly News News Cal i fo r nia Pol yt e c hni c St a t e Unive r s i ty March 28, 2005 FOR IMMEDIATE RELEASE EDITORIAL CONTACT: Bruce Howard (805) 924-1142 TICKETS: (805)756-2787 Moody Blues Coming in Concert to the PAC June 7, 8 SAN LUIS OBISPO -- Since their groundbreaking 1967 album, "Days of Future Passed," The Moody Blues continue to be one of the most enduring rock bands in music history, with a legacy that has generated over three decades’ worth of hit songs. On June 7 and 8, at 8 p.m. in the Christopher Cohan Center, The Moody Blues -- with original members Justin Hayward, John Lodge and Graeme Edge – return to the Central Coast for a special Center Stage Event, presented by Cal Poly Arts and Otter Productions, Inc. Tickets for both concert performances are on sale now at the Performing Arts Center Ticket Office. “I suppose that it is our songs and the way we interpret them that has seen us travel so far,” says The Moody Blues’ Justin Hayward. “It means so much to us that some of our recordings have really meant something to people.” “It’s all about the music,” says Graeme Edge. “The music is everything for us. We’ve always put the music before anything else, and that’s why I think we’ve been able to endure for so long.” The Cohan Center engagement is part of a nationwide tour, showcasing The Moody Blues' classic rock hits, such as “Nights In White Satin," "Ride My See Saw," "The Story In Your Eyes," "Isn’t Life Strange," "Question," "I’m Just A Singer (In A Rock And Roll Band)" and "Your Wildest Dreams." “We found early success in an era when freedom of expression was everything,” remembers Hayward. -
Dissertation on the Music of Gentle Giant
I Gentle Giant The Missing Piece in Rock’s Academia Dominic Stone MUSS3140 200781299 Submitted in partial fulfilment of the requirements for the degree of BA Music School of Music, University of Leeds, March 2016. I Abstract Gentle Giant developed alongside bands such as Yes, Genesis, King Crimson, Jethro Tull and Emerson, Lake and Palmer, but never achieved the same level of commercial success. This is reflected in a lack of academic attention paid to them, despite being recognised as surpassing these other bands in musical complexity. The reasons for their lack of success are the both the challenging nature of their music, namely the abundance of eclecticism, virtuosity and complexity, and the poor management decisions and bad luck which plagued their career. This included tour cancellations, inadequate promotion and support, concert mismatches and their fifth album being withheld from release in America. They never cultivated a decent following in England, as the initial bad reaction from those who remembered them as the pop group Simon Dupree and the Big Sound resulted in the bands management prioritising European and American audiences. Two areas of the music are analysed – the first including concepts, themes, lyrics and imagery and the second being their eclecticism. The themes of social critique and literature are explored, as well as the concept album Three Friends, revealing a sophisticated interaction between music and lyrics to forward the concept. The study of their eclecticism reveals what may be considered a medieval style to instead be a fascination with general early music, which is mixed with classical, folk, jazz and blues and rock music.