Hifi/Stereo Review September 1959
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The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
Hifi/Stereo Review July 1959
• 99 BEST BUYS IN STEREO DISCS DAS RHEINGOLD - FINALLY I REVIEW July 1959 35¢ 1 2 . 3 ALL-IN-ONE STEREO RECEIVERS A N II' v:)ll.n EASY OUTDOOR HI-FI lAY 'ON W1HQI H 6 1 ~Z SltnOH l. ) b OC: 1 9~99 1 1 :1 HIS I THE AR THE HARMAN-KARDON STERE [ Available in three finishes: copper, brass and chrome satin the new STEREO FESTIVAL, model TA230 Once again Harman-Kardon has made the creative leap which distinguishes engineering leadership. The new Stereo Festival represents the successful crystallization of all stereo know-how in a single superb instrument. Picture a complete stereophonic electronic center: dual preamplifiers with input facility and control for every stereo function including the awaited FM multiplex service. Separate sensitive AM and FM tuners for simulcast reception. A great new thirty watt power amplifier (60 watts peak) . This is the new Stereo Festival. The many fine new Stereo Festival features include: new H-K Friction-Clutch tone controls to adjust bass and treble separately for each channel. Once used to correct system imbalance, they may be operated as conventionally ganged controls. Silicon power supply provides excellent regulation for improved transient response and stable tuner performance. D.C. heated preamplifier filaments insure freedom from hum. Speaker phasing switch corrects for improperly recorded program material. Four new 7408 output tubes deliver distortion-free power from two highly conservative power amplifier circuits. Additional Features: Separate electronic tuning bars for AM and FM; new swivel high Q ferrite loopstick for increased AM sensitivity; Automatic Frequency Control, Contour Selector, Rumble Filter, Scratch Filter, Mode Switch, Record-Tape Equalization Switch, two high gain magnetic inputs for each channel and dramatic new copper escutcheon. -
Miles Davis Biografia E Discografia
Miles Davis Biografia e Discografia PDF generato attraverso il toolkit opensource ''mwlib''. Per maggiori informazioni, vedi [[http://code.pediapress.com/ http://code.pediapress.com/]]. PDF generated at: Tue, 05 Jan 2010 08:28:28 UTC Indice Voci Miles Davis 1 Discografia di Miles Davis 27 Note Fonti e autori delle voci 31 Fonti, licenze e autori delle immagini 32 Licenze della voce Licenza 33 Miles Davis 1 Miles Davis Miles Davis [1] Ritratto di Miles Davis (foto Tom Palumbo ) Nazionalità Stati Uniti d'America (crea redirect al codice) Genere Jazz Bebop Hard bop Jazz modale Fusion Periodo di attività 1944 - 1975, 1980 - 1991 Album pubblicati 92 Studio 53 Live 32 Raccolte 17 [2] Sito ufficiale miles-davis.com Si invita a seguire lo schema del Progetto Musica « Per me la musica e la vita sono una questione di stile. » [3] (Miles Davis ) Miles Dewey Davis III (Alton, 26 maggio 1926 – Santa Monica, 28 settembre 1991) è stato un compositore, trombettista jazz statunitense, considerato uno dei più influenti, innovativi ed originali musicisti del XX secolo. È molto difficile disconoscere a Davis un ruolo di innovatore e genio musicale. Dotato di uno stile inconfondibile ed una incomparabile gamma espressiva, per quasi trent'anni Miles Davis è stato una figura chiave del jazz e della musica popolare del XX secolo in generale. Dopo aver preso parte alla rivoluzione bebop, egli fu fondatore di numerosi stili jazz, fra cui il cool jazz, l'hard bop, il modal jazz ed il jazz elettrico o jazz-rock. Le sue registrazioni, assieme agli spettacoli dal vivo dei numerosi gruppi guidati da lui stesso, furono fondamentali per lo sviluppo artistico del jazz. -
Miles Davis Recordings 1
Miles Davis Recordings 2016/7/31 Sound Album Recording Date Label Item Number Format Jacket Track Time File Size Remarks Jacket Image Quality 1 Young Miles (4CD) 1945-1949 Proper Records 4CD Box 2 Early Milestones 1945-1948 Naxox CD 1945/04/24, 46/10/18, 3 Early Miles Davis: The Birth of the Cool Trumpet Definitive Records CD 47/06/00, 48/09/25 4 First Miles 1945/04/24, 1947/08/14 Nippon Columbia CD Benny Carter and his orchestra featuring Miles Davis & Dexter 5 1945-1948 Jazz Door JD 1206 CD Gordon (Recorded in Los Angeles) 6 Miles Davis/Rare Miles (Misc., 1946-1955) (3CD) 1946-1955 Further Along FAP-001/002/003 3CD 7 In Los Angeles 1946/03 Private Recording WAV 8 Complete Vocalist Sessions 1946/10/05 Definitive Records DRCD 11160 CD 9 Bopping the blues 1946/10/18 Black Lion BLCD760102 CD 10 The Miles Davis Tuba Band/Lennie Tristano: Why Do I Love You? 1947-1948 Natasha NT-4015 CD 1947/08/14,1949/01/21, 24bit Digital Francis Dreyfus 11 Milestones 1949/04/22,1949/05/08, ISRC-FR-14F Remastered 0:55:25 559MB Jacket Scanned A (Sony Music France) 1950/02/18,1950/03/09 CD 1948/09/04, 09/18, 12 Complete Birth of the Cool (Disc 2) Definitive Records DRCD 11159 2CD 09/25 1945/11/26 - 13 Complete Savoy & Dial Recordings (2CD) Definitive Records DRCD 11158 CD 1948/09/24 From Cool to Bop The Anthology (Miles Davis nonet at the Roya Stardust/Nippon 14 1948/09/00 CRCL-8895 2CD Roost, NY) Disc 1 Crown 1948/09/04, 09/18, 15 Chasin' The Blues/Live at the Royal Roost, New York ARJ ARJ001 CD 09/25 16 The Real Birth Of The Cool 1948/09/18 Bandstand TKCB-71061 -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Deebee's Scrapbook # 1 Ict, Dentist Y Phoned INTERNATIONAL Me As Pro Anglo-American Herd Electioneer- What the Sound Would Be Like, Nobody Knew for Certain
Hamiltonians Reunite Jones, trumpet; Nat Adderley, cor cert, Reunald Jones, approaching It was like old on-the-road week net; Bill Harris, trombone; Charlie the microphone, stenped on Woody’s in the Hollywood recording studio. Byrd, guitar; Vince Guaraldi, piano; clarinet. Melody Maker said with Reunited for the occasion by Keeter Betts, bass; and Jimmy Camp British reserve that incident “upset World Pacific Records’ Dick Bock bell, drums. (Jones’) usual composure” during were the members of the original From among the British musicians, the solo. Chico Hamilton Quintet plus near Woody chose well: Bert Courtley, original Paul Horn. The musical Les Condon and Ken Wheeler, Jazz Junket proceedings: recording of bassist trumpets; Don Rendell and Art The standard dream for the Euro Carson Smith’s Ellington Suite. Ellefson, tenors; Eddie Harvev and pean jazz fan is a trip to America to Besides arranger Smith, who, in Ken Wray, trombones; Johnny Scott, hear all his favorites. This summer, addition to being one of the original tenor and flute; Ronnie Ross, bari fans in several countries will see the Hamiltonians, was also the first bass tone. Actually, two of the nine are dream come true in reverse: cornet- ist with the Gerry Mulligan Quartet, not English. Ellefson. whom the ist Rex Stewart is leading a group of the group assembled for this final Melody Maker called “one of U. S. tourists to Europe to hear jazz. World Pacific recording date (before Britain’s most promising jazzmen,” Arranged in conjunction with the Hamilton took up residence in the and Wheeler , whom the same American Tourist Bureau, Inc., of Warner Bros, stable) included cellist paper described as “among the two New York, Stewart’s International Freddv Katz, multi-reed man Buddy or three best lead trumpets in Eng Jazz Junket will arrive by air in mid Collette, guitarist Jim Hall and reed land,” are Canadians — two young July for the start of its 29-day Euro man Horn. -
Aus Der Neuen Welt Aus Der Neuen Welt
Sonntag, 19. Juni 2011 · 17.00 Uhr · Klosterkirche Mariental Samstag, 25. Juni 2011 · 19.00 Uhr · Kaiserdom Königslutter Chor- und Orchesterkonzert Aus der neuen Welt Antonín Dvořák (1841-1904) Messe D-Dur op. 86 Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Symphonie Nr. 9 e-Moll op. 95 „Aus der neuen Welt“ Allegro - Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco Te Deum op. 103 Te deum laudamus Tu rex gloria Aeterna fac cum sanctis tuis Dignare domine · · · Danuta Dulska (Sopran) Kathrin Hildebrandt (Alt) Jörn Lindemann (Tenor) Peter Schüler (Bass-Bariton) Michael Vogelsänger (Orgel) Helmstedter Kammerchor Propsteikantorei Königslutter Camerata Instrumentale Berlin Leitung: Andreas Lamken (19. Juni) und Matthias Wengler (25. Juni) DANUTA DULSKA wurde in Danzig geboren. Nach dem Be- such des Musikgymnasiums absolvierte sie ihr Studium an der Staatlichen Musikakademie Danzig in den Fächern Kla- vier, Sologesang und Schauspiel. Das Konzertexamen für Sologesang legte sie an der Hoch- schule für Musik in Dresden in der Klasse von Prof. Christian Elsner erfolgreich ab. Weitere Studien führten sie u. a. zu: Adele Stolte (Potsdam), André Orlowitz (Kopenhagen), Neil Semer (New York), Helmut Kretschmar (Detmold). Von 1990 bis 1995 war sie als Dozentin für Liedbegleitung und später für Gesang an der Musikakademie Danzig tätig. Von 1996 bis 1999 war sie Ensemblemitglied an der Staats- oper Hamburg. Zurzeit arbeitet sie als Lehrerin für Gesang und Klavier an der Musischen Akademie im CJD Braunschweig sowie an der Braunschweiger Domsingschule. Seit 1989 tritt Danuta Dulska international als Konzert- und Oratoriensängerin auf, u. a. in Deutschland, Polen, Holland, Finnland, Schweden, Frankreich, Russland, Tschechien, der Schweiz und der Slowakei, wo sie auch bei Rundfunkaufnahmen und Live-Übertra- gungen mitgewirkt hat. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) "Our subcultural shit-music": Dutch jazz, representation, and cultural politics Rusch, L. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Rusch, L. (2016). "Our subcultural shit-music": Dutch jazz, representation, and cultural politics. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 "Our Subcultural Shit-Music": Dutch Jazz, Representation, and Cultural Politics ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op dinsdag 17 mei 2016, te 14.00 uur door Loes Rusch geboren te Gorinchem Promotiecommissie: Promotor: Prof. -
The Corelli Concertos, Seconda Parte (1729)
Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Three: The Corelli Concertos, Seconda parte (1729) Rudolf Rasch The Thirty-One Works of Francesco Geminiani Work Three: The Corelli Concertos, Seconda parte (1729) Please refer to this document in the following way: Rudolf Rasch, The Thirty-One Works of Francesco Geminiani: Work Three: The Corelli Concertos, Seconda parte (1729) https://geminiani.sites.uu.nl For remarks, suggestions, additions and corrections: [email protected] © Rudolf Rasch, Utrecht/Houten, 2019 19 December 2020 1 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Three: The Corelli Concertos, Seconda parte (1729) WORK THREE THE CORELLI CONCERTOS , SECONDA PARTE (1729) CONTENTS Introduction ....................................................................................................................................................... 3 The Arrangement ............................................................................................................................................. 13 The Concertos .................................................................................................................................................. 16 Notation ........................................................................................................................................................... 22 Engraving and Printing .................................................................................................................................... 23 The Walsh edition -
Findbuch Als
Inhaltsverzeichnis Vorwort II 1.0 Orgelkonzerte 1 2.0 Internationale Orgeltage 24 3.0 Geistliche Konzerte 57 4.0 Weihnachtsmusik / Christmetten 90 5.0 Pfingstkonzerte 105 6.0 Passionsmusik 110 7.0 Besondere Anlässe 126 8.0 Einzelne Komponisten 135 8.1 Bach 136 8.2 Haydn 139 8.3 Händel 141 9.0 Sonstiges 144 I Vorwort Vorwort Der Bestand setzt sich aus digitalisierten Aufnahmen der Marienkantorei zu- sammen. Vorhanden sind v.a. diverse Konzertmitschnitte von Auftritten der Marienkantorei oder befreundeter Künstler/Gruppen. Wer im Einzelnen die Mitschnitte angefertigt hat, ist unklar. Die Digitalisierung der analogen Vorlagen erfolgte über die MarienKantorei. Die Tonaufnahmen liegen als wav-Dateien vor. Die eigentlichen Audioaufnahmen (Tonbänder, Tonkassetten...) befinden sich im Bestand NL 12 Nachlass Marienkantorei Lemgo/Kantor Walther Schmidt. Benutzung des Bestandes Die Benutzung des Bestandes (d.h. das Hören der Digitalaufnahmen) erfolgt nur nach vorheriger Genehmigung durch den Vorstand der MarienKantorei Lemgo im Benutzersaal des Stadtarchivs. Verweis Das Schriftgut und Bild/Videomaterial der Marienkantorei Lemgo befindet sich im Bestand NL 12 - Nachlass Marienkantorei Lemgo/Kantor Walther Schmidt. Dort auch weitere Verweise und Literaturangaben. II 1.0 Orgelkonzerte 1.0 Orgelkonzerte NL 12 a - Kass. C5 Byrd-Fantasia Byrd - In Assumptione - Beatae Mariae Virginis Messeproprius Vokalensemble Chanticleer-Nicholas Danby St.Marien MarienKantorei Digitalisat auf mobiler Festplatte Nr. 1 2015/008 NL 12 a - 11.3.8 Lieder und Dvorak-Messe Johannes Homburg,Orgel St.Marien MarienKantorei Digitalisat auf mobiler Festplatte Nr. 1 2015/008 NL 12 a - 18.98 02.11.1958 Chor- und Orgelkonzert des Pres:Kyrie, Sanctus und Agnus dei aus Missa de beata virgine, Brixi: Concerto F-dur, Reichel: Con- certo f.Orgel, Muffat: Toccata Nr. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
FRENCH KLEINDEUT8CH POLICY in 1848. the University Of
This dissertation has been microfilmed exactly as received 6 8» 724 CHASTAIN, James Garvin, 1939- FRENCH KLEINDEUT8CH POLICY IN 1848. The University of Oklahoma, Ph.D., 1967 History, modern University Microfilms, Inc., Ann Arbor, Michigan ©COPYRIGHT BY JAMES GARVIN CHASTAIN 1968 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE FRENCH KLEINDEUTSCH POLICY IN 1848 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY JAMES GARVIN CHASTAIN Norman, Oklahoma 1967 FRENCH KLEINDEUTSCH POLICY IN 1848 APPROVED BY A • l \ ^ DISSERTATION COMMITTEE PREFACE This work is the outgrowth of an interest in French Diplomatic History and 1848 which I experienced under the questioning encourage ment of Professor Brison D. Gooch. I have especially appreciated the helpful suggestions of Professor William Savage. I am indebted to Professors William H. Maehl and Kenneth I, Dailey for their demanding insistence on detail and fact which balanced an earlier training in broad generalization by Professors H. Stuart Hughes, John Gaus and Herbert Spiro. For the idea of the French missionary feeling to export liberty, which characterized Lamartine and Bastide, the two French Foreign Ministers of 1848, I must thank the stimulating sem inar at the University of Munich with Dr. Hubert Rumpel, To all of these men I owe a deep gratitude in helping me to understand history and the men that have guided politics. I want to thank the staff of the French Archives of the Min istry of Foreign Affairs, which was always efficient, helpful and friendly even in the heat of July. Mr.