DOCSLIB.ORG

A Homage to Frank Zappa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Homage to Frank Zappa Michael Kieran Harvey Collection A homage to Frank Zappa 48 fugues for Frank 48 Fugues For Frank A musical homage to the life and work of Frank Zappa, composed and performed by Michael Kieran Harvey, and complemented by Lingua Franka – concrete poetry by Arjun von Caemmerer, 48 Fugues for Frank premiered in 2010. A labor of love for Zappaphiles and anyone else with an interest in advanced music, innovative poetry and artistic vision. Each of the ten pieces uses four or five ideas inspired by, reacting to, 48 or developing some of Zappa’s signature techniques. Track listing (with obscure Zappa influences): 1. 48 Fugues For Frank #1 — (Greggery Peccary, Pentagon Afternoon) 7’50” 2. 48 Fugues For Frank #2 — (The Girl in The Magnesium Dress) 7’07” 3. 48 Fugues For Frank #3 — (Jazz From Hell) 7’18” 4. 48 Fugues For Frank #4 — (Tink Runs Amok) 6’20” Michael Kieran Harvey 5. 48 Fugues For Frank #5 — (Civilization Phaze III) 4’36” 6. 48 Fugues For Frank #6 — (G-Spot Tornado) 3’46” 7. 48 Fugues For Frank #7 — (St Etienne: guitar solo) 6’16” 8. 48 Fugues For Frank #8 — (Ruth is Sleeping) 4’58” 9. 48 Fugues For Frank #9 — (The Black Page) 5’13” 10. 48 Fugues For Frank #10 — (Baby Snakes) 6’02” P 2010 MOVE RECORDS … FOR MORE INFORMATION ON RECORDINGS BY MICHAEL KIERAN HARVEY VISIT www.move.com.au Jugalbandi 2: “Thirteen” for L. Shankar Jugalbandi 2: “Thirteen” for L. Shankar J Jugalbandi 2: “Thirteen” Jugalbandi 2: “Thirteen” for L. Shankar remain indebted forever to Ernest Rust who opened my mind to the J for L. Shankar music and doors of Frank Zappa. Jugalbandi 2: “Thirteen” Through headphones he encouraged Ime to subject my much younger and more for L. Shankar ignorant self to You Are What You Is A (apparently one of the albums Zappa was J happiest with, and the first to be entirely J pooted forth from The Utility Muffin Research Kitchen, his own recording studio). AJ Having been brought up on the more controlled austerities of JS Bach and Ravi Shankar, I could not believe my ears, as I Z Z was simultaneously and vastly astounded, A bewildered, shocked, amused, entertained. Then I stumbled across the Francesco A Zappa album, Zappa’s synclavier opus of his namesake (who had flourished Z Z some 200 years previously) and whose A Baroque compositions he had inimitably rendered with his Barking Pumpkin Digital Gratification Consort. Frank Zappa Z Z reeked humour, affection, subversion – and PP questions: why the division of music into Z Z serious and non?; what is an ‘authentic’ instrument?; dare ‘rock’ musicians inhabit other Domaines?; can ‘new’ music be old, Z Z and ‘old’ music, new? PP Thus it was both shocking and exciting to discover that an Australian and ‘classical’ musician had actually released a version of Zappa’s Ruth Is Sleeping, and what was even more freaky, was alive and PP living not in leather but in Hobart, and PPA more oddly yet, was working in parallel on a Zappa homage of his own. Arjun von Caemmerer PPA A A rank Zappa was and rationalism, and a great man. his music reflects both Through his lyrics extreme rigour and he skewered freedom. No teenager Fhypocrisy whether would ever consider self- religious, social, artistic or harm after listening to corporate. During the ’80s Zappa’s Suicide Chump he took on the American just as any remotely religious right and the religious-leaning thinking government of Ronnie person would hang their Ray-gun, testified to the head in shame after US congress including listening to his rap, the Tipper and Al Gore on the first on vinyl, Dumb all issue of rock censorship Over. and blasted the hypocrisy of Baptist preachers such Fugue: to flee as Swaggart, at the same to chase time winning Grammy awards for albums with dissociative state titles such as Jazz From Hell. He was a personal cryptographic hash function friend of democracy heroes like Vaclav Havel FZ re cigarettes: (who also had the courage to confront the other “These aren’t drugs ... these major censoring religion are food” of Communism). At the time of his death in 1993 FZ re God: Zappa was working on an ambitious project “In the book it says he made called Civilization Phaze us all to be just like him… III which used Dada and so if we’re dumb, then God concrete poetry techniques is dumb, and maybe even a to evoke a world not so little ugly on the side.” much post-apocalyptic as post-human toilet. Michael Kieran Harvey A perennial thorn in the side of the establishment, he stood up for humanism for Nicholas Slonimsky for Nicholas Slonimsky Just A Minitudfor Nicholase Slonimsky Just A Minitude for Nicholas Slonimsky Just A M i n i t u d for Nicholas e Slonimsky From Just A FromM i n i t u d for Nicholas e Slonimsky Just A M initude for Nicholas Slonimsky From hese pieces pay homage to Zappa’s JuTromst pAing M i n Banalityitudfor Nicholas e Slonimsky From fascination with purely instrumental music. Tromping Banality Just A M i n i t u d e The use of vocals restricted his idiomatic FromIs complex style to an accompanying role, Tromping Banality Tlargely so that the text could be understood. Just A FromMIs i n i t u d e A supreme autodidact, Zappa was at his best Tromping Banality improvising. With Australian rock infected with Is From vomit-inducing spectacles such as trivia quiz shows TrompingStruck Banality and contests, and totally emasculated through the StruckFromIs influence of everyone from Scientologists, Hill Tromping Is Banality Song-style evangelical Churches, Christian bikies to old rockers’ radio stations, it’s important to TrompingStruck Is Banality remember the educative contribution of Zappa. The This he achieved not only by way of his satirical TrompingStruck Banality lyrics, but in the sheer complexity and intelligence TheIs of his music, which somehow bypassed the StruckGrand stupidity of the American top 40 cartel and listening GrandTheIs public, spreading to connoisseurs in Europe, Struck Australia and elsewhere. GrandThe His deep respect for classical masters such Struck as Stravinsky, Nancarrow, Slonimsky, Bartok, Wazoo’d The Mother’d Ravel, Debussy, Varese and Boulez resulted in Wazoo’d StruckGrand Mother’d sympathetic arrangements of their music for his GrandThe virtuoso ensemble, interspersed with humorous digs at commercial genres like doo-wop, disco, blues, Wazoo’d Mother’d gospel, country ‘n’ western, cult-backed pop/rock The ChordGrand s stars, reggae, pretentious jazz and stadium rock to Wazoo’d The Mother’d name only a few. ChordGrand s I hope our little homage might inspire Wazoo’d Mother ’ d listeners to dip into Zappa’s oevre for themselves, ChordGrand s or the Zappa connoisseur to wryly consider what Wazoo’d O f Mother ’ d might have been had he not died so young. Chord O f s Michael Kieran Harvey Wazoo’d Chord s Mother ’ d Wazoo’d Mother ’ d I nv ChordentionO f s I nv ention O f Chord s InventionOf Chord s I nv ention O f I nv ention O f Invention O f Invention Invention counterpoint, with a slow coda just before for bb; pp Each of these ten pieces uses four or five ideas inspired by, reacting the return of the opening chords and to, or developing some of Zappa’s gratuitous arpeggios. (The slow coda becomes the “lyrical” subject of the cycle). signature techniques. The conceit of using the number 48 in the title, 2. 48 Fugues For Frank #2 for Steve Allen which refers of course to the great contrapuntal cycle of JS Bach, is a Zappa influence: The Girl in The Magnesium Dress playful dig at Zappa’s professed for Steve Allen (The Perfect Stranger) antipathy to counterpoint, though the use here of strict fugue form is for Steve Allen Number two explores the mechanical completely arbitrary. beauty of some of Zappa’s synclavier writing, but with a more humane for Steve Allen elasticity of tempo. The pitches and scales are transformed from the first piece. Contrapuntal textures are angrily dispersed by an aggressive percussion cadenza, the whole piece fading to white over a ground bass. 3. 48 Fugues For Frank #3 Zappa influence: Jazz From Hell (Jazz From Hell) Number three evokes some of his guitar lines and favourite improvising chord changes, and is in the form of a “But this exacting rime ends its Catholic course at the end (full stop) of this turgid prose.” palindrome. The opening harmonies are 1. 48 Fugues For Frank #1 excited into “added resonances”. Debussy’s 4. 48 Fugues For Frank #4 shimmering texture is evident throughout, Zappa influences: while Bartok’s Bulgarian rhythms vie for Zappa influence: Greggery Peccary (Studio Tan), Pentagon equal exposure. Afternoon (The Yellow Shark) Tink Runs Amok (The Man From Utopia) Number one started out as an exploration Number four begins as a rhythmic looping of Zappa’s favourite chord, the added exploration of five beats alternating with 2nd. It quickly morphed into pompous seven in a general over-arching 12/8 time. for M. PB for Cynthia “Plaster Caster” Albritton Part two of Stravinsky’s Rite of Spring (afor M. PB 6. 48 Fugues For Frank #6 Zappa favourite) is not far away from somefor M. PB of the bleaker harmonies and momentsfor ofM. PB Zappa influence: for M. PB stasis. for M. PB G-Spot Tornado for M. PB (Jazz From Hell) for M. PB Number six, a nasty little 21-beat ostinato in a completely inappropriate setting: 2/4 time 7.
Load more

Recommended publications
  • Frank Zappa and His Conception of Civilization Phaze Iii
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Do You Know What You Are? You Are What You Is; You Is
    \\server05\productn\H\HBK\26-1\HBK104.txt unknown Seq: 1 17-MAY-10 10:17 DO YOU KNOW WHAT YOU ARE? YOU ARE WHAT YOU IS; YOU IS WHAT YOU AM:1 INDIAN STATUS FOR THE PURPOSE OF FEDERAL CRIMINAL JURISDICTION AND THE CURRENT SPLIT IN THE COURTS OF APPEALS Brian L. Lewis* INTRODUCTION Who is an Indian for purposes of criminal prosecution in the United States’ federal courts under the Major Crimes Act, 18 U.S.C. § 1153?2 The statute does not say. While seemingly straightforward, the answer to this question may be complicated and uncertain. Moreover, if one is in the Eighth Circuit or the Ninth Circuit, the answer may differ. Historically, the test from U.S. v. Rogers3 determined Indian status for federal criminal prosecution. However, over time, as political, institutional and demo- graphic conditions changed, so did the test. Congress’ enactment of the Major Crimes Act, which was based on alarmism and devoid of a doctrinal foundation, changed the test for In- dian status and how it is applied. In the aftermath of the Court’s decision 1. FRANK ZAPPA, YOU ARE WHAT YOU IS (Zappa Records 1981). * Brian L. Lewis is a Staff Attorney with the Navajo Nation Department of Justice in Window Rock, Arizona. He is an enrolled member of the Choctaw Nation of Oklahoma and a descendant of the Cherokee Nation of Oklahoma. He earned his Juris Doctor at the Sandra Day O’Connor College of Law at Arizona State University with an Indian Law Certificate and his Master’s Degree in International Relations and Political Economy at Washington State University with honors in both.
    [Show full text]
  • A Spasso Con Frank
    Giordano Montecchi A SPASSO CON FRANK Melologo underground intorno al grande Frank Zappa da Baltimora reinvenzioni zappiane di Giorgio Casadei e Emilio Galante 0 [SENZA MUSICA] A Mister Edgard Varèse, 188 Sullivan Street, New York. Agosto 1957 Gentile Signore, forse ricorderà la mia stupida telefonata dello scorso gennaio... Mi chiamo Frank Zappa e ho 16 anni. Le sembrerà strano ma è da quando ho 13 anni che mi interesso alla sua musica. All’epoca l’unica formazione musicale che avevo era qualche rudimento di tecnica del tamburo. Negli ultimi due anni però ho composto alcuni brani musicali utilizzando una rigorosa tecnica dei dodici suoni con risultati che ricordano Anton Webern. Ho scritto due brevi quartetti per fiati e una breve sinfonia per legni ottoni e percussioni. Ultimamente guadagno qualche soldo per mantenermi con la mia blues band, The Blackouts. Dopo il college conto di continuare a comporre e penso mi sarebbero veramente utili i consigli di un veterano come lei. Se mi permettesse di farle visita anche solo per poche ore gliene sarei molto grato. Le sembrerà strano ma penso proprio di avere qualche nuova idea da offrirle in materia di composizione. La prego di rispondermi il più presto possibile perché non resterò a lungo a questo indirizzo. La ringrazio per l’attenzione. Cordiali saluti Frank Zappa Jr. ................... 2 1 PEACHES EN REGALIA [VAMP] I duri del rock lo sentono come loro proprietà esclusiva, come profeta anti- establishment. Gli accademici lo tollerano in quanto compositore... un’eccezione! per il mondo del rock. Chi lo vuole un giullare simbolo della trasgressione più anarcoide.....
    [Show full text]
  • Compositions-By-Frank-Zappa.Pdf
    Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish).
    [Show full text]
  • In Nomine Zappa, Zappatore: Sketch of an Hypothesis (S/Z2) + (Sv/Gw)
    Document generated on 10/02/2021 1:56 p.m. Circuit Musiques contemporaines In nomine Zappa, Zappatore Sketch of an Hypothesis (S/Z2) + (sv/gw) In nomine Zappa, Zappatore Esquisse d’une hypothèse (S/Z2) + (sv/gw) John Rea Frank Zappa : 10 ans après Article abstract Volume 14, Number 3, 2004 A man's character is, as Heraclitus once observed, his destiny. Similarly, Frank Zappa noted that "You are what you is". In nomine Zappa, Zappatore proposes a URI: https://id.erudit.org/iderudit/902330ar philological as well as iconographic deconstruction of the Italian name/mask DOI: https://doi.org/10.7202/902330ar (persona), Zappa. The essay suggests that not only is a man's character his daimon but that, moreover, FZ was both an assiduous and subversive artistic See table of contents worker. Publisher(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document Rea, J. (2004). In nomine Zappa, Zappatore: Sketch of an Hypothesis (S/Z2) + (sv/gw). Circuit, 14(3), 103–112. https://doi.org/10.7202/902330ar Tous droits réservés © Les Presses de l’Université de Montréal, 2004 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • Frank Zappa, Captain Beefheart and the Secret History of Maximalism
    Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing.
    [Show full text]
  • The Rondo Hatton Report Vol Ix December 21, 2011
    THE RONDO HATTON REPORT VOL IX DECEMBER 21, 2011 IN THIS ISSUE As the winter solstice marks the end of Zappadan , our ninth edition rolls out a selection of old friends and new prepared to confess all for your celebratory pleasure. Still not enough of you stepping up to the plate , but the intake is broad enough to prove that we're a catholic church . So if you like what you see here -- and even more if you don't -- take some time out over your holy-daze to let us know how it is where you come from. 'Cos that's the way we like it. As always, the texts are supplied as a single pdf file. Those wishing to fondle & fetish a paper version can download and print texts at their leisure; conservers of the carbon footprint can view online. Thanks to all who contributed this time. Content is alphabetic by author . Views are the opinion of the writer and the responsibility of the reader. You is what you am . Anyone wishing to correspond with a contributor may do so through the 'SUBMIT' page, and messages will be duly forwarded. You are encouraged to do so: please let the authors know that you appreciate their efforts - it will make them happy. Hopla! CONTENTS 1. HATS OFF TO DWEEZIL? / Jim BEUGH 2. LINGUA FRANKA PART V / Arjun von CAEMMERER 3. I AM A FRANK ZAPPA FAN / Joe CRAWFORD 4. VINYL HYGIENE DILEMMA / Andy HOLLINDEN 5. WHAM BAM THANK YOU SHAZAM / Simon PRENTIS 6. LARRY TAUGHT ME TO GO MERRY-GO-ROUND / John RILEY 7.
    [Show full text]
  • Frank Zappa After 1968 Des Contre-Cultures Aux Cultures De Banlieue : Frank Zappa Après 1968
    Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 From Countercultures to Suburban Cultures: Frank Zappa after 1968 Des Contre-cultures aux cultures de banlieue : Frank Zappa après 1968 Benjamin Halligan Electronic version URL: http://journals.openedition.org/volume/3421 DOI: 10.4000/volume.3421 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Benjamin Halligan, « From Countercultures to Suburban Cultures: Frank Zappa after 1968 », Volume ! [Online], 9 : 2 | 2012, Online since 01 September 2016, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3421 ; DOI : https://doi.org/10.4000/volume.3421 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun From Countercultures to Suburban Cultures: Frank Zappa after 1968 1 From Countercultures to Suburban Cultures: Frank Zappa after 1968 Des Contre-cultures aux cultures de banlieue : Frank Zappa après 1968 Benjamin Halligan EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. Volume !, 9 : 2 | 2012 From Countercultures to Suburban Cultures: Frank Zappa after 1968 2 1 SUBURBIA WOULD PROVE TO BE THE TERMINUS of Frank Zappa’s satirical project. In the final analysis, the ringmaster of freaks, a mother to the North American counterculture and champion of outsiders would find himself outnumbered and outmanoeuvred by the rising tide of ‘plastic people’. The nature and efficacy of Zappa’s last formal political stand at this juncture is the concern of this chapter.
    [Show full text]
  • Frank Zappa's Legacy: Just Another Hoover? L’Héritage De Frank Zappa : Juste Un Autre « Hoover »? Ben Watson
    Document généré le 26 sept. 2021 16:13 Circuit Musiques contemporaines Frank Zappa's Legacy: Just Another Hoover? L’héritage de Frank Zappa : juste un autre « Hoover »? Ben Watson Frank Zappa : 10 ans après Résumé de l'article Volume 14, numéro 3, 2004 Dans ce texte, Ben Watson révèle un fait en apparence anodin : lorsque Zappa référait à son « oeuvre », vers la fin de sa vie, en utilisant le mot français, il le URI : https://id.erudit.org/iderudit/902325ar prononçait comme le mot anglais Hoover, qui est le nom de l’une des marques DOI : https://doi.org/10.7202/902325ar d’aspirateurs les plus connues dans le monde. Watson choisit, en utilisant un procédé parfaitement en phase avec le dédain dadaïste que Zappa affichait Aller au sommaire du numéro pour les valeurs culturelles, de transformer cette homophonie en prémisse à son essai : l’oeuvre de Zappa est, en effet, un « Hoover ». La critique académique s’entend aujourd’hui pour faire l’éloge de Zappa en tant que compositeur, mais en laissant de côté l’angle critique de son travail. En fait, ce Éditeur(s) qui rendait Zappa particulier, c’était précisément le fait qu’il reconnaissait que Les Presses de l'Université de Montréal la mise en marché et l’industrie du legs, appliquées au concept de génie, répriment le désire et annihilent la musique. En utilisant des concepts littéraires et psychoanalytiques, l’algèbre zappologique de Watson arrive à ISSN l’équation suivante : Stéphane Mallarmé + Wilhelm Reich = Frank Zappa. Après 1183-1693 (imprimé) une étude approfondie de la récurrence du motif « Hoover » dans l’oeuvre de 1488-9692 (numérique) Zappa, l’auteur examine l’héritage du compositeur, qu’il remarque particulièrement dans le travail de Project/Object, des Muffin Men, de Matt Découvrir la revue Groening avec la série télévisée The Simpsons et du trio formé des improvisateurs Eugene Chadbourne, Jimmy Carl Black et Pat Thomas.
    [Show full text]
  • Table of Contents
    Table of Contents Frank Zappa/Mothers Of Invention Singles 23 How Could I Be Such A Fool? I Help, I'm A Rock, Third Movement: It Can't Happen Here 23 How Could I Be Such A Fool? I It Can't Happen Here 29 Trouble Comin' Every Day / Who Are The Brain Police? 31 Who Are The Brain Police? I Trouble Comin' Every Day 34 Big Leg Emma I Why Don't You Do Me Right? 36 Son Of Suzy Creamcheese I Big Leg Emma 46 Lonely Little Girl I Mother People 48 Motherly Love /1 Ain't Got No Heart 51 Ruben And The Jets: Deseri / Jelly Roll Gum Drop 52 Anyway The Wind Blows I Jelly Roll Gum Drop - USA Promo 56 My Guitar I Dog Breath 57 My Guitar Wants To Kill Your Mama / The Orange County Lumber Truck - Venezuela Promo 64 Peaches En Regalia / Peaches En Regalia - USA Picture Sleeve Only 64 WPLJ / My Guitar 65 Tell Me You Love Me / Will You Go All The Way For The U.S.A.? 68 Mi Guitarra (Quiere Matar A Tu Mama) / Desde Mi Corazon Hacia Ti 69 Tears Began To Fall [Mono] / Tears Began To Fall [Stereo] 71 Tears Began To Fall / Junier Mintz Boogie 72 Tears Began To Fall / Happy Together - France 83 Magic Fingers I Magic Fingers - USA Promo 85 Magic Fingers I Daddy, Daddy, Daddy 86 Daddy, Daddy, Daddy I Magic Fingers 88 What Will This Evening Bring Me This Morning?I Daddy, Daddy, Daddy 90 Cletus Awreetus-Awrightus [Stereo] / Cletus Awreetus-Awrightus [Mono] - USA Promo 93 Cletus Awreetus-Awrightus / Eat That Question 94 I'm The Slime / Montana 96 Cosmik Debris I Uncle Remus 101 Don't Eat The Yellow Snow [Stereo] I Don't Eat The Yellow Snow [Mono] Promo 103 Don't Eat The Yellow Snow I Cosmik Debris 104 Don't Eat The Yellow Snow / Camarillo Brillo 106 Du Bist Mein Sofa / Stinkfoot 107 Find Her Finer [Stereo] I Find Her Finer [Mono] - USA Promo 108 Find Her Finer I Zoot Allures - USA 109 Disco Boy [Stereo] I Disco Boy [Mono] - USA Promo 110 Disco Boy I Ms.
    [Show full text]
  • The Rondo Hatton Report Vol X March 21, 2012 Contents 1
    THE RONDO HATTON REPORT VOL X MARCH 21, 2012 CONTENTS 1. STRAVINSKY’S INFLUENCE IN FZ’S MUSIC / John ANTHONY 2. SUCH A BEAUTIFUL GUY / Billie BARBOUR 3. LINGUA FRANKA PART VI / Arjun von CAEMMERER 4. TAKING THEMSELVES SURREALIOUSLY / Tom DEMONAY 5. IF ONLY THEY COULDA HEARD IT / Andy HOLLINDEN 6. FRANK ZAPPA’S NIGHTMARE / DJ PANGBURN 7. THE MONSTER WHO NEEDED NO MAKEUP / John RILEY 1 1. STRAVINSKY’S INFLUENCE IN FRANK ZAPPA’S MUSIC, PART I John Anthony In mid-1950s, while American teenagers were tuning into radio stations and buying records of rock and roll artists such as Elvis Presley and Fats Domino, a young teenager named Frank Zappa was searching for a different sound. What Zappa found was the jagged rhythms and dissonant sound masses produced by twentieth century composers such as Edgard Varese, Anton Weber, and Igor Stravinsky. By studying these sounds and listening to an assortment of rock and blues guitarists, Zappa was able to create an entirely new form of art music that combined rock, classical, blues, pop, and jazz. Igor Stravinsky had a particularly important influence in Frank Zappa’s music. Zappa borrowed compositional techniques from Stravinsky, including Isomelism, Polymeter, Stratification, and Quotation. Also, I will be looking at particular melodies from The Rite of Spring, Petrushka, Firebird Suite, and A Soldier’s Tale that Zappa specifically used in his music usually quoting the passage exactly (with some alterations usually occurring in the rhythm) or taking a melody and creating a completely new idea. Some of the music that I will be incorporating in this paper includes “Status Back Baby,” from Playground Psychotics (1992) “Oh No,” and “Toad of the Short Forest,” from Weasels Ripped My Flesh (1970) and Echnida’s Arf (Of You)” and ”Don’t You Ever Wash That Thing?” from Roxy & Elsewhere (1974).
    [Show full text]
  • Jazz Collection: Frank Zappa
    Jazz Collection: Frank Zappa Dienstag, 03. Dezember 2013, 21.00 - 23.00 Uhr Samstag, 07. Dezember 2013, 22.00 - 24.00 Uhr (Zweitsendung) «Jazz ist die Musik der Arbeitslosen» - ist einer der netten Sätze von Franz Zappa über die Musik, über die er auch verlauten liess, sie sei nicht tot, sie rieche nur komisch. Zum 20. Todestag des vielseitigen Komponisten und Genies der Provokation Frank Zappa (1940-1993) erläutert der Komponist und Jazzpianist Christoph Baumann, welche Jazz-Impulse Zappa auffing und ausstrahlte Redaktion: Beat Blaser Moderation: Andreas Müller Crepon Frank Zappa: Uncle Meat (1969) CD Rykodisc, RDC 10506/07 Disc 2 Track 4: King Kong Frank Zappa: Hot Rats (1969) CD Rykodisc, RCD 10508 Track 4: Little Umbrellas Frank Zappa: Chunga’s Revenge (1970) CD Rykodisc, RCD 10511 Track 3: Twenty Small Cigars Frank Zappa: The Grand Wazoo (1972) CD Rykodisc, RCD10026 Track 2: The Grand Wazoo Frank Zappa: Roxy & Elsewhere (1975) CD Rykodisc, RCD 10520 Track 10: The Bebop Tango (of the old Jazzman’s Church) Frank Zappa: In New York (1976) CD Rykodisc, RCD 10524/25 Disc 2 Track 7: The Black Page Part Two Frank Zappa meets the Mothers of prevention / Jazz from Hell (1986) CD EMI, CDP 7 90078 2 Track 14: Jazz from Hell Frank Zappa: The Best Band You Never Heard in Your Life (1991) CD Zappa Records, CDDZAP 38 Disc 2 Track 13: Eric Dolphy Memorial Barbecue Bonustracks – nur in der Samstagsausgabe Frank Zappa: Make a Jazz Noise Here (1990) Rykodisc, RCD 10555/56 Track 10: Black Napkins Frank Zappa: In New York (1976) CD Rykodisc, RCD 10524/25 Disc 2 Track 4: The Black Page Part One Frank Zappa: Waka Jawaka Zappa Records, CDZAP 10 Track 1: Big Swifty Jean-Luc Ponty: „King Kong“ (1969) BGO Records, BGOCD706 Track 5: Music for Electric Violin and Low Budget Orchestra Frank Zappa: Roxy & Elsewhere (1975) CD Rykodisc, RCD 10520 Track 4: Village of the Sun Track 5: Echidna’s Art (of you) Track 6: Don’t You Ever Wash That Thing Burnt Sugar-The Arkestra Chamber: That depends on what you know (2001) CD BURNT SUGAR Track 6: Round Midnight .
    [Show full text]