Genre, Form, and Medium of Performance Terms in Music Cataloging
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
For Immediate Release: GREY FOX BLUEGRASS FESTIVAL “A Who’S Who of Bluegrass Music” JULY 15-18, 2010
For Immediate Release: GREY FOX BLUEGRASS FESTIVAL “A Who’s Who of Bluegrass Music” JULY 15-18, 2010 WINNER of IBMA BLUEGRASS EVENT OF THE YEAR AWARD On the Walsh Farm, Oak Hill, NY 12460 In Greene County NY’s Beautiful Catskill Mountain Region For the die-hard bluegrass fan, the thought of summer means making an annual pilgrimage to Oak Hill, NY where a normally quiet, out-of-the-way farm in rural Greene County is magically transformed into a community of world-class performers, exuberant fans, devoted volunteers, non-stop jamming, funky campsites, scrumptious food and booths filled with crafts, instruments and clothing. For the third week in July, the Walsh Farm is home to a colorful tent city of music, laughter, cooperation and good will! Long-time Grey Fox fans say it is a homecoming: a cherished reunion of friends who may see each other just once a year. Newcomers are struck by how warm and welcoming everyone is as they are quickly befriended by fellow fans, volunteers, vendors and even artists. “There may be several thousand people in attendance, but it feels like a small town where you know everyone,” says Australian, Jason Nicholas, now planning his third year at Grey Fox. The Northeast’s largest bluegrass festival moved to Oak Hill in 2008 after being held for decades in nearby Columbia County. To the new location, organizers brought all the components for which it is famous: multiple stages, hands-on learning workshops, festive foods, rustic camping, round-the-clock jamming and thousands of fans from all over the U.S., Canada, Europe and the Far East. -
TRACEPLAY-PRESS-KIT-2017.Pdf
EDITOR “Our audience and urban creators were looking for a single platform that offers the best urban music and entertainment on all connected devices, all over the world. TracePlay is our answer to this request”. OLIVIER LAOUCHEZ CHAIRMAN, CEO AND CO-FOUNDER OF TRACE GROUP SUMMARY 1/ THE APP 03 TRACE PRESENTS TRACEPLAY 04 AN OFFER THAT FULLY INCLUDES URBAN MUSIC 2/ THE EXPERIENCE 05 LIVE TV: 9 TRACE MUSIC TV CHANNELS + 1 TV CHANNEL DEDICATED TO SPORT CELEBRITIES 06 LIVE RADIOS : 31 THEMATIC TRACE RADIOS 07 SVOD & ORIGINALS : OVER 2000 URBAN ASSETS 3/ THE OFFER 08 PRICES 09 DEVICES 10 GEOGRAPHICAL DISTRIBUTION APPENDIX: TRACEPLAY PROGRAM CATALOGUE 2017 WWW.TRACEPLAY.TV 1/ THE APP 1.1 TRACE PRESENTS TRACEPLAY TracePlay is the first subscription-based service entirely dedicated to urban and afro-urban music and entertainment. The App is available worldwide on most THE BEST RADIOS connected devices and offers an instant Afro-urban series, movies, documentaries 30 radio channels covering the various urban and unlimited access to 10 live TV chan- and concerts. and afro-urban genres. nels, 30 live radios and more than 2000 on demand programs. LIVE TV EXPLORE Watch the 9 best urban and afro-urban music channels Browse by region, topic, genre or mood and the #1 sport celebrities channel to make your choice. ON DEMAND Instant access to more than 2000 selected programs including originals. TV | RADIO | DIGITAL | EVENTS | STUDIOS | MOBILE | MAGAZINE TRACEPLAY | PRESS KIT 2017 03 1/ THE APP 1.2 AN OFFER THAT FULLY INCLUDES URBAN MUSIC TracePlay leverages Trace’s 14 years expertise in music scheduling to offer a unique music experience: all Urban, African, Latin, Tropical and Gospel music genres are available and curated on a single App for the youth who is 100% connected. -
![Louisiana Folk [Spring 2014]](https://docslib.b-cdn.net/cover/7773/louisiana-folk-spring-2014-257773.webp)
Louisiana Folk [Spring 2014]
LOUISIANA FOLK OFFICIAL NEWSLETTER OF THE LOUISIANA FOLKLIFE CENTER THE 35th ANNUAL INSIDE THIS ISSUE: NATCHITOCHES-NSU FOLK FESTIVAL 2015 Natchitoches-NSU Folk Festival The 2014 Festival theme is “Tricentennial Natchitoches: Celebrating Louisiana’s Folk Heritage.” The oldest permanent settlement in the Lou- Hall of Master Folk Artists 2 isiana Purchase, Natchitoches was founded in the winter of 1713-14 when French explorer Louis Juchereau de St. Denis set up a trading post Narrative/Informance Sessions on the Red River. The region came to be known for its thriving agricul- Workshops tural economy and as a hub of international trade between the French, Crafts 3 Spanish, and Native American populations. These peoples combined Friday Music Schedule with each other as well as with the region’s black population (both Louisiana State Fiddle slaves and freed people of color) to become families, giving rise in the Championship 4 area to a vibrant Creole people, who made their homes along the Cane Saturday Music Schedule 5 and Red Rivers. Today much of the region’s population self-identifies as Thanks to Supporters 6 Creole, with continued African American, Anglo, and Hispanic popula- tions adding to the cultural mix of Natchitoches. Although its borders General Information are smaller than in the past, Natchitoches Parish today is geographically Fiddle Championship Donation Form the largest parish in Louisiana, and the people of Natchitoches consider KidFest Exhibits 7 their heritage to be deeply tied to who they are. This Festival will cele- brate the ways in which the people of the Natchitoches region in North- western Louisiana have kept their diverse folkways alive through pass- Folk Festival Donation Form 8 ing them down from one to another in person to person contact. -
Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada. -
1 Literaturliste Für „Einführung in Die Moderne Afrikanische Musik“
Literaturliste für „Einführung in die moderne afrikanische Musik“ Dozent: Dr. Wolfgang Bender Inhaltsverzeichnis: 1. Allgemeiner Teil: 1. Theorie S. 2 2. Produktion, Distribution & Archivwissenschaften S. 3 3. Afrikanische Musik allgemein S. 3 4. Moderne afrikanische Musik allgemein S. 5 5. Traditionelle afrikanische Musik allgemein S. 7 6. Weltmusik S. 8 7. Musik aus der Diaspora S. 9 8. Bibliographie S. 11 9. Zeitschriften S. 11 2. Länderspezifischer Teil: 10. Nordafrika S. 13 11. Westafrika S. 14 12. Frankophones Westafrika S. 14 13. Anglophones Westafrika S. 17 14. Zentralafrika S. 22 15. Horn von Afrika S. 25 16. Ostafrika S. 26 17. Süd-Zentralafrika S. 28 18. Südafrika S. 29 19. Lusophones Afrika S. 31 20. Inseln S. 32 1 1. Theorie: Agawu, Kofi: Representing African Music: Postcolonial notes, 2003 queries, positions. New York & London: Routledge Bröcker, Marianne (Hg.): Musik und Religion. 1992 Reihe: Bericht über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music; Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Musik und Symbol. Musik und Region. 1998 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Traditionelle Musik und ihre Funktion. 2001 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Nettl, Bruno: The Concept of Preservation in 1985 Ethnomusicology. In: Jackson, Irene V. (Hg.): More than Drumming. Essays on African and Afro-Latin American Music and Musicians. Westport: Greenwood Press Simon, Arthur: Ethnomusikologie: Aspekte, Methoden und 2008 Ziele. Berlin: Simon Verlag 2 2. -
Multimodal Deep Learning for Music Genre Classification
Oramas, S., Barbieri, F., Nieto, O., and Serra, X (2018). Multimodal Transactions of the International Society for Deep Learning for Music Genre Classification, Transactions of the Inter- Music Information Retrieval national Society for Music Information Retrieval, V(N), pp. xx–xx, DOI: https://doi.org/xx.xxxx/xxxx.xx ARTICLE TYPE Multimodal Deep Learning for Music Genre Classification Sergio Oramas,∗ Francesco Barbieri,y Oriol Nieto,z and Xavier Serra∗ Abstract Music genre labels are useful to organize songs, albums, and artists into broader groups that share similar musical characteristics. In this work, an approach to learn and combine multimodal data representations for music genre classification is proposed. Intermediate rep- resentations of deep neural networks are learned from audio tracks, text reviews, and cover art images, and further combined for classification. Experiments on single and multi-label genre classification are then carried out, evaluating the effect of the different learned repre- sentations and their combinations. Results on both experiments show how the aggregation of learned representations from different modalities improves the accuracy of the classifica- tion, suggesting that different modalities embed complementary information. In addition, the learning of a multimodal feature space increase the performance of pure audio representa- tions, which may be specially relevant when the other modalities are available for training, but not at prediction time. Moreover, a proposed approach for dimensionality reduction of target labels yields major improvements in multi-label classification not only in terms of accuracy, but also in terms of the diversity of the predicted genres, which implies a more fine-grained categorization. Finally, a qualitative analysis of the results sheds some light on the behavior of the different modalities in the classification task. -
Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
Download This PDF File
CONTRIBUTIONS OF YORUBA MUSICIANS TO THE DEVELOPMENT OF NIGERIAN POPULAR MUSIC Funso A. Fagbile and Blessing A. Amole Introduction Nigerian music as it is today has produced many kinds of art, religious, folk and popular music, some of which are known to be spread around the world. Ogisi (2005) classified Nigerian music into traditional, art, religious and popular music. He stressed further that traditional music is ethnic based and integral to culture, art music is contemplative music for aesthetic enjoyment, religious music is performed for religious activities in and outside the religious centers such as church, while popular music is essentially entertainment music. Nigerian popular music is further subdivided into two types: those in which Islamic musical element fused with African traditional music and those in which African idioms fused with elements of western music such as juju and highlife (Euba, 1989:14). Nigerian popular music is one of the least researched areas of the various types of Nigerian music and as such different areas such as contributions of Yoruba musicians in the area of popular music are yet to be addressed. Therefore, this paper tries to look into the area of Juju and Fuji music, their exponents, life history and contributions. Popular music in many African countries have seen turbulence and violence during the transition from a diverse region of folk cultures to a modern nation-state. Nigeria has more difficulty than most African countries in forging a popular cultural identity from the diverse people of the countryside. From its beginnings in the streets of Lagos, popular music in Nigeria had long been an integral part of the field of African pop, bringing in influences and instruments from many ethnic groups, most prominently including the Yoruba. -
Contemporary Nigerian Popular Music: a Menace to National Development
Journal of Arts & Humanities Contemporary Nigerian Popular Music: A Menace to National Development Ogunrinade D.O.A1 ABSTRACT There is no gainsaying that most of the recent forms of contemporary popular music produced, packaged, made available for public consumption constitute grave danger and serious threat to moral uprightness in Nigerian society. This has exposed the Nigerian society to a wide variety of insecurity and violence. This is evident as seen from series of moral decadence and dissipation that infiltrated the lives of the citizenry - especially the youths (the leaders of tomorrow) ranging from, sexual abuse, money mongering, indiscipline, examination malpractice and indecent dressing to mention but a few. Music is a powerful tool and a force for mobilization which brings about either reformation or deformation of character due to the type of rhythm, melody, harmony and principally the lyrics of the songs. This paper examines the new trend of contemporary popular music in Nigeria with a view to assess its negative and pessimistic impacts on the character of the citizenry in Nigerian society. Live performances of contemporary popular music were observed and audio and video tape materials relating to the said music were also analyzed based on their educational and moral values of such songs. It was discovered that many of contemporary popular music as we have it today in Nigeria communicates vulgarity and coarseness to the listeners and this poses a lot of negative effects on the attitude of the youths. Musicians employ indecent words to attract the youth thus creating negative influence on the character of the leaders of tomorrow (the youth) to engage in various debaucheries. -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Créolité and Réunionese Maloya: from ‘In-Between’ to ‘Moorings’
Créolité and Réunionese Maloya: From ‘In-between’ to ‘Moorings’ Stephen Muecke, University of New South Wales An old Malbar is wandering in the countryside at night, and, seeing a light, approaches a cabin.1 It is open, so he goes in. He is invited to have a meal. No questions are asked; but he sings a ‘busted maloya’ [maloya kabosé] that speaks of his desire to open his wings and fly away, to accept the invitation to sleep in the cabin, to fall into the arms of the person narrating the ballad, and to weep. The whole company sings the ‘busted maloya.’2 Malbar is the name for Tamils descended from indentured labourers from parts of South India including the Malabar Coast and Pondicherry, where the French had another colony. Estimated to number 180,000, these diasporic Tamils had lost their language and taken up the local lingua franca, Creole, spoken among the Madagascans, French, Chinese and Africans making up the population of Réunion in the Indian Ocean. Creole, as a language and set of cultural forms, is not typical of many locations in the Indian Ocean. While the central islands of Mauritius, the Seychelles, Rodriguez, Agalega, Chagos and Réunion have their distinct varieties of French Creole language, Creole is not a concept that has currency in East Africa, Madagascar or South Asia. Versions of creolized English exist in Northern and Western Australia; at Roper River in the 1 Thanks to Elisabeth de Cambiaire and the anonymous reviewers of this paper for useful additions and comments, and to Françoise Vergès and Carpanin Marimoutou for making available the UNESCO Dossier de Candidature. -
Ctba Newsletter 0304
REA ONGOING EVENTS AUSTIN AREA Chriesman Community Center CTBA Don Cook 979-567-0573 PARIS •Beginner/Intermed. Jam CLEBURNE • Jam & Stage Show Central Texas A • Show & Jam • 3rd Sat: Jam 5:00, Show 7:00 1st & 3rd Thursday 7-9 pm 3rd Fri Cleburne Civic Center, Chisum HS, Hwy 19 & 24, south Steve Mangold 512-345-6155 1501 W Henderson (Hwy 67)7 pm, of Paris $5-members $6-others • CTBA Jam Session $3 www.geocities.com/ntbbluegrass Brenda Burks 903-784-8859 Sunday at Artz Rib House COPPERAS COVE PEARL Bluegrass 3-5 pm,512-442-8283 • Jam • Jam & Stage Show ARTZ RIB HOUSE Fri-VFW Post 8577 at 1506 1st Sat: Jam 12:00, Show 4:30 Volume 25 • Live Bluegrass Show Veterans Ave 7 pm Hwy 183, 7 mi. south of Purmela 2330 S. Lamar, 6:00 pm Number 4 512-442-8283 254-542-6710 [email protected] Ronald Medart 254-865-6013 AAAMS JAM GARLAND ROCKNE Wed, Anderson Mill Baptist • Bluegrass on the Square • Bluegrass/Country Jam April 2003 Church,10633 Lake Creek Pkwy Sat- March thru October between 1st Sat: 3pm til ..., 8 mi. S. of Dinner 5:30 ($3) 6:30-8:30 pm, Main and State Sts. at 6th, 7:30- Cedar Creek on FM 535 Bulletin 1 am Jim Miller 972-276-3197 TOMBALL 259-7702- call to join for dinner GRANITE SHOALS • Spring Creek Club Jam/Show Tom, Brad & Alice Fredericksburg •AFTM (Austin Friends of • Bluegrass and Gospel Jam 4th Sat: 5pm-jam, 7pm-show Traditional Music)Contra Dance Last Sat: 6:30-10:00 pm Oklahoma Community Center, 3rd Sat., Lutheran church at 3501 706 Phillips Ranch Rd.