Xango Music Distribution Release #5 – 2020 Pagina | 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Transnational Trills in the Africana World
Transnational Trills in the Africana World Transnational Trills in the Africana World Edited by Cheryl Sterling Transnational Trills in the Africana World Series: Studies in African Humanities Edited by Cheryl Sterling This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Cheryl Sterling and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2321-7 ISBN (13): 978-1-5275-2321-0 TABLE OF CONTENTS Acknowledgements ................................................................................. viii Contributors ............................................................................................... ix A Note from the Series Editor ................................................................. xiv Introduction ................................................................................................ 1 The Africana Matrix Ideology as Aesthetics Cheryl Sterling Section I - Music and Politics Chapter One .............................................................................................. 22 Rethinking the African Link: Nationalism, Freedom, and Culture in Jazz Signifiers Joseph -
Bang on a Can Announces Onebeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT
FOR IMMEDIATE RELEASE Press contact: Maggie Stapleton, Jensen Artists 646.536.7864 x2, [email protected] Bang on a Can Announces OneBeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT A Global Music Celebration curated and hosted by Found Sound Nation. Four Hours of LIVE Music at live.bangonacan.org Note: An embed code for the OneBeat Marathon livestream will be available to press upon request, to allow for hosting the livestream on your site. The OneBeat Virtual Marathon is back! OneBeat, a singular global music exchange led by our Found Sound Nation team, employs collaborative original music as a potent new form of cultural diplomacy. We are thrilled to present this second virtual event, showcasing creative musicians who come together to make music, not war. The OneBeat Marathon brings together disparate musical communities, offering virtuosic creators a space to share their work. These spectacular musicians join us from across the globe, from a wide range of musical traditions. They illuminate our world, open our ears, and break through the barriers that keep us apart. - Julia Wolfe, Bang on a Can co-founder and co-artistic director Brooklyn, NY — Bang on a Can is excited to present the second OneBeat Marathon – Live Online – on Sunday, May 2, 2021 from 12PM - 4PM ET, curated by Found Sound Nation, its social practice and global collaboration wing. Over four hours the OneBeat Marathon will share the power of music and tap into the most urgent and essential sounds of our time. From the Kyrgyz three-stringed komuz played on the high steppe, to the tranceful marimba de chonta of Colombia's pacific shore, to the Algerian Amazigh highlands and to the trippy organic beats of Bombay’s underground scene – OneBeat finds a unifying possibility of sound that ties us all together. -
See Page 19 for Details!!
RRegionegion 1177 SSummit/Marineummit/Marine MMusteruster MMayay 220-220-22 128 DDenver,enver, CColoradoolorado APR 2005/ MAY 2005 SSeeee ppageage 1199 fforor ddetails!!etails!! USS Ark Angel’s CoC and Marines’ Fall Muster ’04 see pages 19 & 20 for full story! “Save Star Trek” Rally see page 28 for more great pics! Angeles member Jon Lane with the “Enterprise” writing staff. From left to right: Jon Lane, “Enterprise” writers Judith and Garfi eld Reese-Stevens, and producer Mike Sussman. Many of the the show’s production staff wandered out to see the protest and greet the fans. USPS 017-671 112828 112828 STARFLEET Communiqué Contents Volume I, No. 128 Published by: FROM THE EDITOR 2 STARFLEET, The International FRONT AND CENTER 3 Star Trek Fan Association, Inc. EC/AB SUMMARY 3 102 Washington Drive VICARIOUS CHOC. SALUTATIONS 4 Ladson, SC 29456 COMM STATIC 4 Kneeling: J.R. Fisher THE TOWAWAY ZONE 5 (left to right) 1st Row: Steve Williams, Allison Silsbee, Lauren Williams, Alastair Browne, The SHUTTLEBAY 6 Amy Dejongh, Spring Brooks, Margaret Hale. 2nd Row: John (boyfriend of Allison), Katy Publisher: Bob Fillmore COMPOPS 6 McDonald, Nathan Wood, Larry Pischke, Elaine Pischke, Brad McDonald, Dawn Silsbee. Editor in Chief: Wendy Fillmore STARFLEET Flag Promotions 7 Layout Editor: Wendy Fillmore Fellowship...or Else! 7 3rd Row: Colleen Williams, Jonathan Williams. Graphics Editor: Johnathan Simmons COMMANDANTS CORNER 8 Submissions Coordinator: Wendy Fillmore SFI Academy Graduates 8 Copy Editors: Gene Adams, Gabriel Beecham, New Chairman Sought for ASDB! 9 Kimberly Donohoe, Michael Klufas, Tracy Lilly, Star Trek Encyclopedia Project 9 STARFLEET Finances 10 Bruce Sherrick EDITORIALS 11 Why I Stopped Watching.. -
STUDENT Nature by Self-Taught Artists
TRLBOTRKE GLASGOW GALLERY HER-ALD Old College I MODERN PRIMITIVES AWARD 26 Oct-23 Nov An exhibition of paintings and WINNER sculpture of a highly personal STUDENT nature by self-taught artists. Mon-Sat IO am-5 pm 1985 21.11.85 Edinburgh University Student Newspaper A strong attack was made against the "enemies of light in our society" in this year's Ken neth Allsop Memorial Lecture, given last Thursday by Donald frelford, editor of The Observer. He attacked espe cially the present governmeht for their apparent obsession with secrecy. Terry and In a hard hitting speech under the title of 'Pressures on the Press', Mr Gerry Trelford made a detailed survey of both the obvious and the hidden threats to Press freedom. Mr Trelford opened his case by citing the phrase 'the half free Press' , coined by former Times and Sunday Times editor Harold Evans to contrast Press freedom in Britain !Wi th that of the United States. "But , if ten years ago, our media had half the freedom of the US", Mr Trelford said, "no one can seri ously doubt that our rating now is consiflerably less than 50%." "Lonnie Donegan?? Never heard He continued by describing how of 'im!!" - so claim Terrr and Gerry. those Jpveable pionCers of this freedom was being subverted the radical new musical genre tha~ by "the slow creep of bureaucratic Photo: Dave Yarrow 1he kids on the street are ca lling regulations that go unchecked", e Observer editor attacks government SKJFFtE. and mentioned in particular legisla tion such as the contempt of Court Act 1981 and the Police and Crimi -page6 nal Evidence Act 1984. -
A Study of Stambeli in Digital Media
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 A Study of Stambeli in Digital Media Nneka Mogbo Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the African Languages and Societies Commons, African Studies Commons, Ethnomusicology Commons, Music Performance Commons, Religion Commons, Sociology of Culture Commons, and the Sociology of Religion Commons A Study of Stambeli in Digital Media Nneka Mogbo Mounir Khélifa, Academic Director Dr. Raja Labadi, Advisor Wofford College Intercultural Studies Major Sidi Bou Saïd, Tunisia Submitted in partial fulfillment of the requirements for Tunisia and Italy: Politics and Religious Integration in the Mediterranean, SIT Study Abroad Spring 2019 Abstract This research paper explores stambeli, a traditional spiritual music in Tunisia, by understanding its musical and spiritual components then identifying ways it is presented in digital media. Stambeli is shaped by pre-Islamic West African animist beliefs, spiritual healing and trances. The genre arrived in Tunisia when sub-Saharan Africans arrived in the north through slavery, migration or trade from present-day countries like Mauritania, Mali and Chad. Today, it is a geographic and cultural intersection of sub-Saharan, North and West African influences. Mogbo 2 Acknowledgements This paper would not be possible without the support of my advisor, Dr. Raja Labadi and the Spring 2019 SIT Tunisia academic staff: Mounir Khélifa, Alia Lamããne Ben Cheikh and Amina Brik. I am grateful to my host family for their hospitality and support throughout my academic semester and research period in Tunisia. I am especially grateful for my host sister, Rym Bouderbala, who helped me navigate translations. -
Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). -
The Festive Sacred and the Fetish of Trance Performing the Sacred at the Essaouira Gnawa Festival Le Sacré Festif Et La Transe Fétiche
Gradhiva Revue d'anthropologie et d'histoire des arts 7 | 2008 Le possédé spectaculaire The Festive Sacred and the Fetish of Trance Performing the Sacred at the Essaouira Gnawa Festival Le sacré festif et la transe fétiche. La performance du sacré au festival gnaoua et musiques du monde d’Essaouira Deborah Kapchan Electronic version URL: http://journals.openedition.org/gradhiva/1014 DOI: 10.4000/gradhiva.1014 ISSN: 1760-849X Publisher Musée du quai Branly Jacques Chirac Printed version Date of publication: 15 May 2008 Number of pages: 52-67 ISBN: 978-2-915133-86-8 ISSN: 0764-8928 Electronic reference Deborah Kapchan, « The Festive Sacred and the Fetish of Trance », Gradhiva [Online], 7 | 2008, Online since 15 May 2011, connection on 19 April 2019. URL : http://journals.openedition.org/gradhiva/1014 ; DOI : 10.4000/gradhiva.1014 © musée du quai Branly Fig. 1 Spectacle gnawa au « festival gnaoua et musiques du monde d’Essaouira », 24 juin 2006. © Pierre-Emmanuel Rastoin (P. E. R.). Dossier The Festive Sacred and the Fetish of Trance Performing the Sacred at the Essaouira Gnawa Festival of World Music Deborah Kapchan t is late June 1999 and I am in Essaouira, Morocco, it still unfolds b-haqq-u u treq-u, in its truth and its path. for the Essaouira Gnawa Festival of World Music. In 2004 I find myself in Essaouira again. There is ano- I The weather is balmy, but the wind of this coastal ther conference — this time on religion and slavery — city blows so hard that the festival-goers clasp their organized by another scholar, historian Mohammed scarves tightly around them. -
Music in Morocco: Gnawa History and Onward
Music in Morocco: Gnawa History and Onward Part 1 - Gnawa Music: From Slavery to Prominence http://www.aljazeera.com/indepth/features/2015/12/gnawa-music-slavery-prominence- 151203135403027.html 1. Why was Gnawa music created in Morocco? 2. In your own words, what aspects of Gnawa music are traditionally African? How is it a part of African heritage? 3. Where does the word “gnawa” come from? 4. Where in Morocco can one find Gnawa music? 5. What are the themes in Gnawa music? 6. What does Okot p’Bitek mean in saying that African primitive songs and dancing are “not just entertainment”? 7. What is the link between blues and jazz in the United States and Gnawa music in Morocco and other parts of Africa? 8. What did the Moroccan government do as a result of Gnawa music’s popularity? 9. What are five adjectives or phrases that the author uses to describe Gnawa music? Part 2: o Maâlém Mahmoud Guinia, "Ftouh Rahba": https://www.youtube.com/watch?v=IZD_HENCPZ0 o Shayfeen, “Wach Kayn Maydar”: https://www.youtube.com/watch?v=Bfh65T7XhQ8 1. In listening to “Ftouh Rahba”, what components do you notice in the music that were mentioned in the article? 2. In the “Wach Kayn Maydar” video, what types of images do you see? Does the video or style of music remind you any American music videos you have seen or songs you have listened to? Part 3: What types of American music have similar themes to that of Gnawa? How is music used in American culture as a way to call attention to social issues or promote social change? Use specific examples. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
3530SYLLABUS 2016 Copy
3530 Syllabus—1 MUH 3530 (1710): POPULAR AND TRADITIONAL MUSIC OF AFRICA Instructor: Larry Crook Phone/Email: 273-3171/[email protected] Office: University Auditorium 301; Office Hours: Monday 5th and by appointment GENERAL DESCRIPTION This course examines selected topics in African music. Class periods include lectures, discussions, music listening, video viewing, live presentations, and interactive participatory sessions involving music making among students. The course begins by introducing several broad issues including the representation of African music, the role of music in African social life, and the ways in which African musical traditions have impacted and been impacted by colonialism and globalization. The course then focuses on selected musical traditions linked (geographically and historically) to various areas of Africa. Several themes run through the course: interconnection of traditional and popular forms of music, colonial and post-colonial contexts of music making, the impact of mass media and global circulation of African music, and music’s role in shaping African identities. Over the semester we will spend time reading about, discussing, and listening to a wide variety of musical sounds created by African. Pre- requirements: MUH 2501 or permission by the instructor. This course satisfies Humanities (H) and International (N) general education requirements. As such, the course will explore how African music expresses and embodies the values and beliefs of different people and communities in Africa and in African diasporas in Europe and the Americas (especially in relation to the diversity of cultural norms and values in the United States). It will also investigate how academic scholars, journalists, politicians, and the music industry represent African music.