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Efnisyfirlit
Efnisyfirlit SKIPULAGSSKRÁ .............................................................................................................................................. 3 STJÓRN OG STARFSLIÐ .................................................................................................................................. 6 SKÓLANEFND ...................................................................................................................................................... 6 SKÓLASTJÓRI ...................................................................................................................................................... 6 YFIRKENNARI ..................................................................................................................................................... 6 ÁFANGASTJÓRI ................................................................................................................................................... 6 FJARNÁMSSTJÓRI ................................................................................................................................................ 6 VERKEFNASTJÓRAR ............................................................................................................................................ 6 DEILDARSTJÓRAR ............................................................................................................................................... 6 KENNARAR ........................................................................................................................................................ -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
[177. Mál] Um Lagagildi Samnings Milli Ríkisstjórnar Íslands Og Swiss Aluminium Ltd., Um Álbræðslu Við Straumsvík
Nd. 434. Frumvarp til laga [177. mál] um lagagildi samnings milli ríkisstjórnar Íslands og Swiss Aluminium Ltd., um álbræðslu við Straumsvík. (Lagt fyrir Alþingi á 86. löggjafarþingi, 1965-66.) 1. gr. Með lögum þessum staðfestist samningur milli ríkisstjórnar Islands og Swiss Aluminium Limited, dags. 28. marz 1966, um byggingu og rekstur álbræðslu við Straumsvík, í lögsagnarumdæmi Hafnarfjarðar. Samningurinn er prentaður sem fylgiskjal með lögum þessum, á íslenzku og ensku. 2. gr. Ákvæði samnings þess, sem um ræðir í 1. gr., skulu hafa lagagildi hér á landi. 3. gr. Lög þessi öðlast þegar gildi. AÐALSAMNINGUR SAMNINGUR, gerður hinn 28. dag marzmánaðar 1966 MILLI RíKISSTJÓRNAR íSLANDS (hér eftir nefnd "ríkisstjórnin") ANNARS VEGAR OG SWISS ALUMINIUM LIMITED (hér eftir nefnt "Alusuisse"), sem er félag stofnað að svissneskum lögum HINS VEGAR MEÐ ÞVI að stóriðjunefnd, er skipuð var af iðnaðarmálaráðuneytinu hinn 5. mai 1961, og raforkumálastjórnin hafa um nokkurt árabil rannsakað kosti þess að virkja vatnsraforkumagn Islands í sambandi við raforkunotkun til iðnaðar; MEÐ ÞVI að Alusuisse, félag, er stundar alhliða áliðnað, hefur rætt við ríkis- stjórnina hagkvæmni þess að reisa á Íslandi álbræðslu, er noti orku frá islenzkum stöðvum um langt árabil; MEÐ Því að með lögum frá Alþingi nr. 59 20. maí 1965 var stofnuð Lands- virkjun, og henni heimilað að byggja raforkuver við Þjórsá og tilteknar eldsneytis- aflstöðvar ; MEÐ ÞVI að Hafnarfjarðarkaupstaður (hér á eftir nefndur "kaupstaðurinn") er reiðubúinn að byggja hafnarmannvirki við Straumsvík á Suðvesturlandi; MEÐ ÞVÍ að Alusuisse er reiðubúið að fela Íslenzka Alfélaginu hf. (Icelandic Aluminium Company Limited, hér á eftir nefnt "ISAL"), að byggja álbræðslu við Straumsvik; MEÐ ÞVÍ uð ISAL, Landsvirkjun og kaupstaðurinn hafa lögformlega sam- þykkt i rafmagnssamningi og hafnar- og lóðarsamningi að efna og takast á hendur þær skuldbindingar, sem lagðar eru á hvern um sig með tilteknum ákvæðum samn- ings þessa; ER HÉR MEÐ GERÐUR EFTIRFARANDI SAMNINGUR: I. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY -
Úr Álögum Jan Valtin, Átti Ævintýralegt Líf Sem Erindreki 1941
ÚR RICHARD KREBS LÝSIR ÆVINTÝRALEGU LÍFI ÚR Richard Krebs, sem skrifaði undir dulnefninu Halldór Kiljan Laxness og Benjamín ÁLÖGUM ÁLÖGUM Eiríksson háðu ritdeilu um Úr álögum Jan Valtin, átti ævintýralegt líf sem erindreki 1941. Alþjóðasambands kommúnista í Þýskalandi og Danmörku og njósnari fyrir Gestapo, leynilögreglu nasista. Hann upplýsir um tengsl danskra verkalýðsforingja við Kreml- verja og segir frá mönnum, sem síðar hlutu frama í leynilögreglu Austur-Þýskalands. Richard Krebs njósnaði fyrir Hitler en Hann ljóstrar upp um það, að kommúnista- var í raun flugumaður Stalíns. sellur, sem unnu á skipum Eimskipafélags Íslands, futtu leyniskjöl á milli landa. Krebs skrifaði bókina í samstarf við bandaríska blaðamanninn Isaac Don Levine, en Emil Thoroddsen þýddi á íslensku. Þegar þessi bók kom fyrst út á íslensku 1941, kröfðust íslenskir Blaðamaðurinn Isaac Don Levine kommúnistar þess, að hún yrði bönnuð, og aðstoðaði Richard Krebs við að skrifa bókina. Þýski kommúnistinn Ernst þeir Halldór Kiljan Laxness og Benjamín Wollweber var yfirmaður Richards er Eiríksson háðu harða ritdeilu um hana. hann njósnaði fyrir Komintern. JAN VALTIN „Svo spennandi bók, að menn leggja hana ógjarna frá sér eftir að lestur er byrjaður.” — Jónas Guðmundsson JAN VALTIN ISBN 978-9935-469-91-5 „Bók Valtins er ein af stórkost- Almenna bókafélagið legustu bókum vorra tíma.“ EUROPE www.rnh.is — Benjamín Eiríksson AECR-RNH www.bokafelagid.is OF THE VICTIMS 9 789935 469915 > ÚR ÁLÖGUM Jan Valtin 1 SAFN TIL SÖGU KOMMÚNISMANS Ritstjóri: Hannes H. Gissurarson Meðal útgáfurita Svartbók kommúnismans, Stéphane Courtois og fleiri Konur í einræðisklóm, Margarete Buber-Neumann Guðinn sem brást, Arthur Koestler og fleiri Leyniræðan um Stalín, Níkíta Khrústsjov Konur í þrælakistum Stalíns, Elinor Lipper og Aino Kuusinen Trúin á kommúnisma, Arthur Koestler Örlaganótt yfir Eystrasaltslöndum, Ants Oras Eistland. -
2 Jailed in Death of Baby Girl
C M Y K www.newssun.com 2 JAILED IN EWS UN DEATH OF NHighlands County’s Hometown-S Newspaper Since 1927 Sunday, June 9, 2013 Volume 94/Number 69 | 75 cents BABY GIRL O-Zone tourney Art show Detectives: 18-month-old left Elks stand up to Rotary’s Rose’s photos at in car in motel parking lot challenge to advance Sebring gallery while mom met boyfriend SPORTS, B1 PAGE B7 News-Sun staff a child causing great SEBRING — Two bodily harm. Her people allegedly hav- bond was set at ing an affair have $300,000. been arrested in con- Christopher Eiland, nection with the May 22, of Fort Meade, 24 death of an 18- was arrested Thursday month-old girl who Espinosa in Fort Meade by the was left in a car for Polk County Sheriff’s two hours and died Office. Eiland has of a heat stroke while been charged with they were having an failure to report sus- illicit meeting at a pected child abuse, hotel. abandonment or neg- Josefina lect. He is currently Espinosa’s mother, Eiland free on $50,000 bond. 23-year-old Adriana According to the Polk Alicia Espinosa, of 3521 SR County Sheriff's Office, 70, Lake Placid, was arrest- Eiland was hired in June as a ed Wednesday and charged detention deputy for the with aggravated manslaugh- ter of a child and neglect of See TWO, A5 Store owner shoots News-Sun photo by KATARA SIMMONS accused burglar K-9 officer JR looks ready for retired life with his new owner Debra Graves (right). -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Trans Canada Highway (Hargitai András)
56 Figyelõ Mûvészet 57 olyanok kötelezik el magukat mel- hosszan tartó csönd követte, 2005 irány szerinti. Verbális szinten már le gõdob nagy késleltetéssel zengõ lette, mint McCloud, és remélhe- õszén azonban a hallgatás megsza- is tért a zene az elõre elvárt útról, beúszása indítja el azt a süvítõ sebes- tõleg azok a potenciális alkotó-ol- kadt, hiszen megjelent a gitárokkal is vagy talán csak most került rá iga- ségû menetet, amit a darab végig vasók, akik haszonnal forgatják tarkított The Campfire Headphase. zán, hiszen a cím szimbolizmusának megtart. Késõbb új szõnyegek kísé- könnyeden fajsúlyos mûvét. De an- 2006 júniusában az albumot köve- fõ üzenete az, hogy bárhová eljutha- retével és a dobok idõnkénti bonyo- nak sem haszontalan idõtöltés a tõ, majdnem félórás Trans Canada tunk. Dubra emlékeztetõ ritmusa lításával alkot egyre teljesebb és na- könyv olvasása, nézegetése, aki sze- Highway címû kislemez is eljutott a lassan hömpölyögve úszik be a töb- gyobb hatású frekvencián perdülõ ret eltûnõdni korunk vizuális kultú- hallgatókhoz. bi visszafelé szálló hanggal, itt-ott egészet a dal. A fokozás csúcsán ta- ráján vagy kulturálatlanságán. A cím messzemenõen funkcio- zongorafoszlányokkal, majd az ana- lán az appreggióban kecsesen lépke- P. S ZATHMÁRY ISTVÁN nálisnak hat számomra. A Trans lóg torzulásokkal megfûszerezett, a dõ rövidke analóg hangok állnak. Canada Highway egy óriási útháló- duótól jól ismert szin- Egy réveteg szõnyeg (Nyitott Könyvmûhely, Budapest, 2007, zat, amely egész Kanadát átszövi, tetizátorok szõnyegei- marad a szám végére, 224 oldal, 2600 Ft) annak minden régióját összekap- re kerül vissza a lépege- majd az is eltûnik. Is- csolva egymással. A CD-n és hófe- tõ zongora hangja.