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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 I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
U.S. Judge Defends Ban on Jury Trials
SUNDAY,FEBRUARY 7, 2021 /// Times Community News publication serving Orange County /// timesoc.com U.S. judge defends ban on jury trials U.S. District Judge Josephine Staton says the federal court’s decision to indefinitely halt jury trials makes sense as the pandemic continues. BY MEGHANN M. CUNIFF Afederal judge defending the court’s pan- demic-related prohibition on jury trials said her stateside counterparts in Orange County Superior Court aren’t tracking jurors after trials end, so it’s impossible to know how many people have been infected through them. “How do you know it wasn’t spread throughout the community because of the trial? How do you know someone’s grand- mother wasn’t hospitalized because she came into contact with the juror?” said U.S. District Judge Josephine Staton. Speaking to attorneys during a recent Zoom hearing, Staton said the last few months of increasing coronavirus infections in Orange County means “someone is doing something wrong, not right” and justifies the decision to indefinitely halt jury trials. Staton was responding to a defense attor- ney’s opposition to a trial delay, but she also was addressing her colleague U.S. District Judge Cormac Carney’s ongoing criticism of the ban. Carney has dismissed four criminal cases, including a robbery case and two gun indictments, because he believes the indefi- Sean M. Haffey | Getty Images nite ban on trials violates the accused’s con- stitutional right to a speedy trial. He’s ac- LLI BY ANTHONY CIARDE cused his colleagues who support the ban is pretty direct about ennywise frontman Jim Lindberg of misconduct, and he’s repeatedly cited Or- re,” he said. -
A Model-Based Approach to Constructing Music Similarity Functions
Hindawi Publishing Corporation EURASIP Journal on Advances in Signal Processing Volume 2007, Article ID 24602, 10 pages doi:10.1155/2007/24602 Research Article A Model-Based Approach to Constructing Music Similarity Functions Kris West1 and Paul Lamere2 1 School of Computer Sciences, University of East Anglia, Norwich NR4 7TJ, UK 2 Sun Microsystems Laboratories, Sun Microsystems, Inc., Burlington, MA 01803, USA Received 1 December 2005; Revised 30 July 2006; Accepted 13 August 2006 Recommended by Ichiro Fujinaga Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine- learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated. Copyright © 2007 Hindawi Publishing Corporation. All rights reserved. 1. INTRODUCTION implement intelligent song suggestion, playlist generation and audio content-based search systems for these services, The rapid growth of digital media delivery in recent years efficient and accurate systems for estimating the similarity of has led to an increase in the demand for tools and tech- two pieces of music will need to be defined. -
0221-PT-A Section.Indd
Rock and rope YOUR ONLINE LOCAL Man of Oregon Popular Portland gym DAILY NEWS Homegrown Helfrich settles celebrates 25th year www.portlandtribune.com in as Ducks’ main man Portland— See LIFE, B1 Tribune— See SPORTS, B10 THURSDAY, FEBRUARY 21, 2013 • TWICE CHOSEN THE NATION’S BEST NONDAILY PAPER • WWW.PORTLANDTRIBUNE.COM • PUBLISHED THURSDAY “We really want it to be a walking tourist attraction, so people don’t have to drive from one side of the road to another.”— Dan Cogan, 82nd Avenue of Roses Business Association TRIBUNE PHOTO: CHRISTOPHER ONSTOTT PPS TAG chief Kim Matier is working to fi x problems with the program, including $100,000 in TAG funds that went unspent by schools last year. TAG tries to fi nd a way out of ‘crisis’ Budget control, TRIBUNE PHOTOS: CHRISTOPHER ONSTOTT more outreach focus The O’Sushi restaurant, in the Fubonn Shopping Center on Southeast 82nd Avenue, is bustling with business as customers watch plates of fresh sushi roll by on a of proposed changes conveyor belt. By JENNIFER ANDERSON The Tribune New Jade District another Nearly one in fi ve students in Portland Public Schools carries a badge of honor that is also somewhat of an enig- ma for district leaders. Eight thousand PPS students gem in Portland’s crown — and 40,000 statewide — are identifi ed as Talented and Gift- ed learners, a label that can mean a lot or a little, depending ■ 82nd Avenue emerges as the Pearl’s Asian counterpart on what school they attend. Some schools use all or most of the $2,000 to $4,000 they are allotted in TAG funds each ometimes a name It may seem audacious now, year, while other schools don’t change helps give an ar- but organizers hope it will one spend a dime of it. -
Thesis Submitted for the Degree Of
THE UNIVERSITY OF HULL School of Arts How do electronic musicians make their music? Creative practice through informal learning resources. being a Thesis submitted for the Degree of MA in Music by Research (25004) in the University of Hull by Wai Kuen Wan (BEng University of Leeds, BA Leeds Metropolitan University) June 2017 Contents Abstract iv Introduction 1 Context and literature review 7 1. Compositional approaches 16 1.1 Curation 17 1.1.1 Context of materials 17 1.1.2 Juxtaposition 19 1.1.3 Assemblage 20 1.1.4 Personal sound archive 22 1.2 Sound manipulation 24 1.2.1 Custom modular tools 25 1.2.2 Destruction and degradation 28 1.2.3 Manipulating recorded performance 30 1.3 Indeterminacy and serendipity 31 1.4 Specificity of objectives 34 2. Conditions for creativity 40 2.1 Motivation 41 2.1.1 Self-serving 42 2.1.2 Enthusiasm 44 2.1.3 Commercial success 46 2.1.4 Reactionary responses 50 2.2 Personal growth 53 2.2.1 Exploratory learning 53 2.2.2 Early experiences 56 2.3 Discography for reflection 59 ii 2.4 Duration and nature of composition 61 2.4.1 Intensive work practice 62 2.4.2 Promoting objectivity 65 2.4.3 Learning vs making 66 3. Technological mediation 70 3.1 Attitudes to technology 70 3.1.1 Homogenisation of technologies 71 3.1.2 New ideas do not require new technologies 74 3.1.3 Obsessing and collecting 76 3.2 Tools for realisation 80 3.2.1 Proficiency and fluency with instruments 83 3.2.2 Opacity and affordance - enslaved to the (quantised) rhythm 86 3.3 Redefining technology 89 3.3.1 Subversion – extending the lexicon 90 3.3.2 Active Limitation 94 3.4 Instruments and their influence 97 3.4.1 Resisting conformity 98 3.4.2. -
Dance Music Simon Halstead
After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body. -
Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction. -
Digital Cultures Listening Lists
Digital Cultures: Music Recommended Listening and Reading (Prof Andrew Hugill) The following long (but nowhere near long enough to cover everything) listening list not only illustrates some of the key ideas about modernism and postmodernism, structuralism and deconstruction, but also adds up to a mini-history of the evolution of electronic and electroacoustic music in the 20th Century. Some brief descriptive notes are included to indicate the salient features, but there is no substitute for careful and repeated listening, with perhaps some attempt to analyse what is heard. It should be remembered that Modernism and Postmodernism are not musical styles, nor words that artists and composers use to describe their work, but rather terms from critical and cultural theory that seem to sum up broad tendencies in art. In fact, all the pieces below will probably be heard to exhibit characteristics of both ‘isms’. Some useful questions to ask when listening are: what is the artist’s intention? How well is it realized? What is the cultural context for the work? What are its compositional techniques? What is the musical language? Pierre Schaeffer ‘Etude aux chemins de fer’ from ‘Cinq études de bruits’ (1948) on OHM: the early gurus of electronic music: 1948-1980. Roslyn, New York: Ellipsis Arts. This was the first time recorded sound was assembled into a musical composition. The sounds included steam engines, whistles and railway noises. Pierre Schaeffer and Pierre Henry Symphonie pour un homme seul (1950) on Pierre Schaeffer: l’oeuvre musicale EMF EM114. A 12-movement musical account of a man’s day using recorded sounds. -
MIRA COSTA HIGH SCHOOL Distinguished Alumni 2014 Noreen
MIRA COSTA HIGH SCHOOL Distinguished Alumni 2014 Noreen Harris Baer A career doing something you love is particularly rewarding. Noreen Harris Baer (1980) does that performing and teaching music. Her talent was recognized early; first as the outstanding Fine Arts graduate at Long Beach State in 1988 and then with USC scholarship support in earning a doctoral degree in Musical Arts. Today, she is a renowned trombonist, performing with symphony orchestras and chamber music ensembles across the country, including such organizations as the Long Beach Civic Light Opera, the Milwaukee Symphony and the North Jersey Symphony. As a bandleader for Disney, she played trombone for artists as different as Frankie Valley and the Four Seasons, Charlotte Church, and Styx. Noreen teaches trombone and music theory at the Rockland Conservatory of Music in New York and trombone and brass chamber music in the Mason Gross School at Rutgers University in New Jersey, where she also directs the University Trombone Choir. Huntley Castner Building businesses is challenging and rewarding. Huntley Castner (1981) has made a career doing it. At 26 he and a partner founded a successful restaurant chain in San Francisco, running it for ten years before selling it off. Seeking other growth opportunities, Huntley became vice president of strategy and finance for Panda Express. He later brought his talents to Yogurtland, Inc. Serving as CFO and later as CEO, he helped Yogurtland become one of America’s fastest growing companies, now operating more than 270 stores worldwide. Huntley also is a leader in organizing the annual UCLA Restaurant Industry Conference, a specialized program for food industry leaders to learn, network, and be inspired. -
Novou Desku Elektrac Přiveze V Březnu Do Meetfactory Shobaleader One, Kapela Legendárního Squarepushera
Novou desku Elektrac přiveze v březnu do MeetFactory Shobaleader One, kapela legendárního Squarepushera 7. březen, Praha – Jeden z nejvlivnějších britských hudebníků posledních dvou dekád Tom Jenkinson alias Squarepusher přijede 29. března do MeetFactory. V rámci projektu Shobaleader One představí společně s čtyřčlennou kapelou v LED maskách a hábitech svůj progresivní jazz a zbrusu novou desku Elektrac, která vyjde 10. března. Tom „Squarepusher“ Jenkinson je pojem elektronické hudby posledních dvou dekád britské scény. Manický, schizoidní, experimentální drum´n´bass je jen základní označení toho, co Squarepusher během posledních dvaceti let předvedl. Jako syn jazzového muzikanta vyrůstal na hudbě Milese Davise, Augusta Pabla nebo Charlie Parkera. Na střední škole začal hrát na basu a bicí, pak ale uslyšel elektro techno LFO nebo Carla Craiga a klasickému jazzu bylo odzvoněno. Vzdát se ho ale nehodlal. V jeho muzice se sice začaly objevovat prvky techna a junglu, zároveň je ale na jeho prvních nahrávkách zřetelný silný vztah k jazzu, který se pomalu transformuje do progresivního stylu. Post-acid house, experimentální hudba, drum and bass – to všechno se v souvislosti se Squarepusherem začíná spojovat. V roce 1997 vzniklo první z mnoha alb, které Jenkinson nahrál u legendárního labelu Warp – Hard Normal Daddy. Album bylo nadšeně přijato veřejností i kritikou, britský magazín The Wire ho zařadil mezi nejlepší desky roku, Stylus Magazine hovořil o „zázraku.“ Bylo to také poprvé, kdy se Jenkinson pokusil oprostit od jazzu a hudbu směřoval více funkově alá hudba Herbie Hencocka. Mezi roky 1997 a 2009 vzniklo dalších jedenáct desek, např. Music is Rotted One Note, Go Plastic (píseň „Tommib“ zazněla ve filmu Lost in Translation), Do you Know Squarepusher, na kterém zazní cover verze Joy Division Love Will Tear Us Apart nebo Ultravisitor, kterému podle slov samotného umělce porozumí jen on sám; sám za sebe ostatně mluví i obal desky, kde je jen Jenkinsonova tvář.