WGLT Program Guide, October, 1990
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
(1984): Michael Hedges and the De/Reterritorialization of the Steel-String Acoustic Guitar
Marcel Bouvrie 4069277 | Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Marcel Bouvrie 4069277 Master thesis Applied Musicology July 2018 University Utrecht Supervisor: Prof. Dr. Emile Wennekes Contents: Introduction p. 2 Methodology p. 4 Chapter 1: Assemblage p. 8 Chapter 2: The Rhizome p. 13 Chapter 3: De/reterritorialization p. 20 Conclusion p. 31 Bibliography p. 33 1 Marcel Bouvrie 4069277 | Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Introduction In 1984, acoustic guitar virtuoso Michael Hedges released his second album, Aerial Boundaries, which many describe as the genesis of a new solo acoustic guitar movement:1 a movement where guitarists expand the sonic and musical palette of the acoustic guitar by optimally combining its melodic, harmonic, timbral and percussive potential. This, in order to develop the acoustic guitar as a fully-fledged solo instrument, rather than its more typical role of accompanying instrument. Before Hedges, there were already several acoustic guitarists who challenged the convention that the steel-string acoustic guitar’s primary function is that of an instrument for accompaniment. John Fahey, Leo Kottke, Will Ackerman and Preston Reed were the most prominent guitarists to try to validate the steel-string acoustic guitar as a solo instrument. They all had their own unique idiosyncratic approach within this self- proclaimed mandate, but none had the disruptive impact that Hedges had, and still has. Today, this new acoustic guitar movement – often described as Fingerstyle or Percussive Guitar – is larger and more popular than ever. -
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
University of Huddersfield Repository Cronin, Reece The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Original Citation Cronin, Reece (2018) The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34632/ 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/ The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February -
Bluesrag (Baltimore Blues Society)
TEH RUBinDWITZ AnD BUB nEWSCASTER: BY LARRY BEnltEWitZ t's said when a venerable old oak tree nears its demise, it instinc were too beset by health issues and exhaustion to even promote it I tively, through some sort of internal mechanism, is able to muster properly. And I wasn't about to let this excruciating labor of love a last superabundance of acorns in order to ensure the perpetuity of wither on the vine by going unnoticed, especially since another the species. This is the image I conjured up when a few months ago local legend and esteemed colleague of theirs passed recently, Billy I received a brand new CD in the mail by two ancient rockabilly Hancock, with only a brief, belated acknowledgement. warriors of yore, two artists who had been either in, respectively, Well, you say, why is a blues writer so interested in rockabilly semi-retirement or some self-imposed exile from the music busi performers? You've heard of the expression, "the blues had a baby ness-Bob Newscaster, 67, and Tex Rubinowitz, 73. And, yes, they and they called it rock 'n' roll?" In fact, some of the greatest hits have showered us with unexpected "acorns," but, after a five-year of the 50s, indeed, had their origins in hitherto standard 12-bar struggle with this secretive project (likened to have given birth), they blues, like Carl Perkins' transformation of the classic" Matchbox," or 14 I BLUE SRAG I SPRING 2 018 I MOJOWORKIN . cOM UPTOWN b/w FEELIN' RIGHT TONIGHT TEX RUBINOWITZ ---- GOIN' GOIN' GONE TROUBLE -RECORDS ~ · TEX RUBINOWITZ ~z 0 0 ~ ~ zm m 0 mz r r-;;; M 0 J 0 w 0 R KIN. -
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February 2018 1 Table of Contents Introduction .......................................................................................... 3 1: Methodology ..................................................................................... 4 2: Techniques ........................................................................................ 6 3: Fingerstyle History ............................................................................. 7 Blues ...................................................................................................... 7 Folk ........................................................................................................ 9 Modern Fingerstyle ............................................................................ 10 4: Album Analysis ..................................................................................... 12 Conclusion ........................................................................................... 17 Bibliography ........................................................................................ 18 Discography ........................................................................................ 19 i. The author of this thesis (including any appendices and/or schedules to this thesis) -
Finding Aid for the Blues Archive Poster Collection (MUM01783)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library April 2020 Finding Aid for the Blues Archive Poster Collection (MUM01783) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Part of the African American Studies Commons, American Material Culture Commons, American Popular Culture Commons, and the Other Music Commons Recommended Citation Blues Archive Poster Collection (MUM01783), Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding Aid for the Blues Archive Poster Collection MUM01783 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Scope and Content Creator - Collector Arrangement Cole, Dick "Cane"; King, B. B.; Living Blues Administrative Information (Magazine); Malaco Records; University of Mississippi; Miller, Betty V. Related Materials Controlled Access Headings Title Blues Archive Poster Collection Collection Inventory ID Series 1: General Posters MUM01783 Series 2: B. B. King Posters Date [inclusive] 1926-2012 Series 3: Malaco Records Posters Date [bulk] Series 4: Living Blues Bulk, 1970-2012 Posters Extent Series 5: Dick “Cane” 3.0 Poster cases (16 drawers) Cole Collection Location Series 6: Betty V. Miller Blues Archive Collection Series 7: Southern Language of Materials Ontario Blues Association English Broadsides Abstract Series 8: Oversize These blues posters, broadsides, and oversize Periodicals printings, collected by various individuals and Series 9: Blues Bank institutions, document the world of blues advertising. -
Billy Hancock, Part II: This White Guy Cansing the Blues
Gigs & Digs| by Sky Shaw & Spencer Hill Billy Hancock, Part II: This White Guy Can Sing The Blues or all who have ever been curious about the notion what title, as we did, while playing the stage of El Boqueron II in outer binds large numbers of humans together, there is an Rockville on one sweltering night in 2002. obvious answer. Language and speech. Now let’s think Here’s the real deal, good friends. Billy and the authors of this of a less obvious link between people of various types. column, who proudly wear the epithet “Musician” on our right What could be more compelling, more entrancing, sleeve, without a shadow of a doubt solidly affirm more loyalty F than music? Sure, to the hits of 1962 than those of our time (with the concomitant poetry is cool, electronica that seems to be a given nowadays) – is there really a painting profound, choice? Here’s the amazing thing. From his windowless, but lofty, sculpture sexy – not ‘nerve center,’ lined with stacks of books on Elvis, Bowie, Jerry Lee, to mention business, Broadway show tunes, Wanda Jackson and the women of rockabilly, medicine and law – and one of Billy’s personal faves of all – jazz guitarist/singer Eddie but think a moment, Condon’s lavishly illustrated autobiography, Hancock prevails. dear reader. What manner of effulgence issues forth from this tiny kingdom Have you ever in Barcroft, one may ask? Well, as Billy likes to start out, “we’ll stopped to consider tell ya.” Turkey Mountain, Hancock’s beautifully produced and the utter enthralled meticulously researched homegrown record label lives in this gaze of the American crowded little room. -
Michael Hedges Watching My Life Go by Mp3, Flac, Wma
Michael Hedges Watching My Life Go By mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Watching My Life Go By Country: Germany Released: 1985 Style: Acoustic MP3 version RAR size: 1847 mb FLAC version RAR size: 1520 mb WMA version RAR size: 1239 mb Rating: 4.1 Votes: 755 Other Formats: MP3 VQF MP4 MMF ASF WMA AC3 Tracklist A1 Face Yourself 4:42 A2 I'm Coming Home 4:10 A3 Woman Of The World 4:12 A4 Watching My Life Go By 3:13 A5 I Want You 3:55 B1 The Streamlined Man 3:43 B2 Out On The Parkway 2:53 B3 Holiday 5:11 B4 All Along The Watchtower 2:48 B5 Running Blind 4:50 Companies, etc. Made By – TELDEC Schallplatten GmbH – 6.26262 AP Phonographic Copyright (p) – Windham Hill Records Copyright (c) – Windham Hill Records Published By – Naked Ear Music Published By – Windham Hill Music Credits Guitar – Michael Hedges Producer – Elliot Mazer Vocals – Michael Hedges Notes 1985 Windham Hill Records DMM Direct Metal Mastering Barcode and Other Identifiers Barcode: 4 001406 262623 Matrix / Runout (runout side 1): DMM o A c-6.26 262-01-1 Matrix / Runout (runout side 2): o DMM A c-6.26 262-01-2 Rights Society: GEMA Label Code: LC 9757 Other versions Category Artist Title (Format) Label Category Country Year Michael Watching My Life Go By Open Air OA-0303 OA-0303 US 1985 Hedges (LP, Album, EMW) Records Michael Watching My Life Go By Open Air L 43044 L 43044 Australia 1985 Hedges (LP, Album) Records Michael Watching My Life Go By Open Air C28Y5064 C28Y5064 Japan 1985 Hedges (LP, Album) Records Michael Watching My -
Inside This Issue
April/May 2015 #211 $5.00 US New England’s only independent Blues newsletter mailing the schedules of our outstanding, hard working TheBlues Bands and BluesBlues Clubs to dedicated Blues Fans Audiencesince 1991. © ATB/TBA 2015 INSIDE THIS ISSUE: Performance schedules and lots of Blues News for our local New England Blues Bands and Blues Clubs • Interview: Roomful of Blues’ versatile guitarist talks about his career by Art Simas • The Ex-President’s File- local Boston area and beyond Blues news by “Sistah K” Karen Nugent • Another great New England guitarist, Ricky “King” Russell talks to Sistah K about his life in Blues. above: Chris Vachon, lead guitarist and bandleader of Roomful of Blues talks about the road, recording and being a cornerstone of Roomful of Blues for the past 25 years, pictured here on stage at Tupelo Music Hall. - photo by J. LoFaro to right: Rick Russell “go to” guitar player performs with The Love Dogs at Strange Brew, Manchester, NH - photo by DIana Shonk Notes from the Publisher do it all with the steady backing of Chris’ very with him at Chan’s in Woonsocket, RI april 18. capable guitar playing. It’s officially being billed as “Dan Moretti and the Hammond Boys featuring Michelle “Evil RICKY “KING” RUSSELL Karen Nugent Gal” Willson.” See Chan’s schedule on page 8. interviewed Rick Russell, who I think is one of Michelle also has a radio show on WICN In our more outstanding guitar players here in Worcester, Ma 6-9am on Monday-Wednesday, New England. We have been spotlighting these It is very interesting and informative AND guys because I don’t see enough press about swinging. -
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years. -
ANSON FUNDERBURGH Is Back COLIN LINDEN from Canada to Nashville
The Phenomenal RUTHIE FOSTER HADDEN SAYERS Breaking Free ANSON FUNDERBURGH Is Back COLIN LINDEN From Canada To Nashville NUMBER ONE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © SCOTT ALLEN / VIVIDPIX 4 BLUE NOTES NUMBER ONE From The Publisher 5 RIFFS & GROOVES 6 RUTHIE FOSTER From The Editor-In-Chief Timeless Voice by Tim Parsons 20 DELTA JOURNEYS “Rock Stars” 11 HADDEN SAYERS 22 AROUND THE WORLD Back To The Blues “Good Night, Ann Rabson” by Phil Reser 24 Q&A 14 The Many Facets Of with Michael Hill ANSON FUNDERBURGH by Grant Britt 27 BLUES ALIVE! Damon Fowler 17 COLIN LINDEN Ronnie Earl Guitar Master 30 REVIEWS by Larry Nager New Releases and Box Sets 70 LEGACIES 72 DOWN THE ROAD A S P A L S R A G I A © Y H P A R G O T O H P PHONE TOLL-FREE 866-702-7778 EMAIL [email protected] WEB bluesmusicmagazine.com Issue Number One So here we go, our inaugural issue of Blues Music Magazine. This was not my original plan as my sixtieth birthday approaches. It was to slow down, travel the world, and play a little poker. Sometimes the path resets itself, available in this issue and in each issue of the and we are thrown headlong into a new magazine going forward. And our Digital adventure. So why continue on this path? Edition can be viewed on all mobile devices. It is because of the incredible blues In addition, you can participate on our community we have become a part of – our FaceBook page or Twitter and share some of subscribers, advertisers, musicians, and the your favorite blues experiences. -
California State University, Northridge the Blue Note: A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE BLUE NOTE: A GREATER TEXAS REGIONAL BLUES HEARTH A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Geography by Daniel Geringer Summer 2013 The thesis of Daniel Geringer is approved: __________________________________ __________________ James Craine, Ph.D. Date _________________________________ __________________ Ron Davidson, Ph.D. Date _________________________________ __________________ Steven Graves, Ph.D., Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS The author would like to thank his wife, Rowena, and his two children Clarissa and Colin for their unrelenting support during this project. The author would like to thank Professor Graves for his support, inspiration and interest in geographically centered musical studies and this particular thesis. Further thanks are given to Professors Craine whose assistance over the last year is greatly appreciative and without this assistance; this thesis would never have been completed and Professor Ron Davidson. Additional thanks are given to Ed Jackweicz, David Hornbeck and James Allen, whose influence and support were influential to my studies. iii TABLE OF CONTENTS Signature Page ________________________________________________ ii Acknowledgements ____________________________________________ iii Abstract______________________________________________________ vi CHAPTER 1. Introduction and Research Question ____________________ 1 CHAPTER 2. Geographic and Theoretical Context ____________________ -
Open Thesis - Full.Pdf
! ! The Pennsylvania State University The Graduate School School of Music BECAUSE IT WAS THERE: INFLUENCE AND INTERTEXTUALITY IN THE MUSIC OF MICHAEL HEDGES A Thesis in Musicology by Dylan N. Crosson © 2019 Dylan Crosson Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2019 ! ii The thesis of Dylan N. Crosson was reviewed and approved* by the following: Charles Youmans Professor of Musicology Thesis Adviser Taylor A. Greer Associate Professor of Music Theory Marica S. Tacconi Professor of Musicology Graduate Officer and Associate Director of the School of Music *Signatures are on file in the Graduate School. ! iii ABSTRACT Over the course of his thirteen-year career, Michael Hedges revolutionized the fingerstyle guitar world through his revolutionary techniques. Despite these innovations, however—or perhaps because of them—Hedges’s accomplishments as a composer have been overlooked. Hedges’s underlying methods link him to a much broader, more celebrated tradition of composers. This thesis considers the music of Hedges from this standpoint, with particular attention to questions of compositional influence. Chapter One establishes Hedges as an “idiosyncratic minimalist” who simultaneously inherits the style from its founders while exercising his direct links to its roots. To do so, this chapter considers minimalism theoretically and culturally to show the complex nature of Hedges’s relationship with minimalism. Chapter Two investigates Hedges’s compositional uses of the Fibonacci Series and Golden Ratio. Tracking his fascination with the subject back to a book investigating the manifestations of the Fibonacci series in Bartok’s music, this chapter adopts this book’s methodology to search for such manifestations in the music of Hedges.