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e m s i l a é e n t n r i o i l u s i RAPPORT ANNUEL s t b e f DE GESTION DE LA l a o r t u p p c é t a i SODEC a v d i t l i a t 2019-2020 é r é p t u m i o o c iv t p e a c c ré n n e r io a A s sp gi as n lité p ra t re rtu équité ouve Montréal, le 4 septembre 2020 Madame Nathalie Roy Ministre de la Culture et des Communications Ministère de la Culture et des Communications Édifice Guy-Frégault 225, Grande Allée Est, Bloc A, 1er étage Québec (Québec) G1R 5G5 Madame la Ministre, J’ai le plaisir de vous transmettre le rapport annuel de gestion de la Société de développement des entreprises culturelles (SODEC) pour l’exercice financier se terminant le 31 mars 2020. Ce rapport vous est remis pour dépôt à l’Assemblée nationale. Il a été produit conformément aux dispositions de la Loi sur la SODEC ainsi que de la Loi sur l’administration publique. Veuillez agréer, Madame la Ministre, l’expression de mes sentiments les meilleurs. La présidente et chef de la direction, Louise Lantagne 905, avenue De Lorimier, 4e étage, Montréal (Québec) H2K 3V9 | 514 841-2200 | 1 800 363-0401 | sodec.gouv.qc.ca Présentation d’Antigone au festival CINEMANIA De gauche à droite : Guilhem Caillard, Antoine Desrochers, Maidy Teitelbaum, Louise Lantagne, Sophie Deraspe, Nahéma Ricci et Nour Belkhiria Lou-Adriane Cassidy à la soirée Côte à Côte aux BIS de Nantes Naomi Fontaine au Salon du livre de l’Outaouais TABLE DES MATIÈRES Mot du président du conseil d’administration 6 4. -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
Development of Musical Ideas in Compositions by Tortoise
DEVELOPMENT OF MUSICAL IDEAS IN COMPOSITIONS BY TORTOISE Reiner Krämer Prologue For more than 25 years, the Chicago-based experimental rock band Tortoise has crossed over multiple popular music genres (ambient music, krautrock, dub, electronica, drums and bass, reggae, etc.) as well as different types of jazz music, and has made use of minimalist Western art music.1 The group is often labeled a pioneer of the »post-rock« genre. Allegedly, Simon Reynolds first used the term in his review of the album Hex by the English east Lon- don band Bark Psychosis (Reynolds 1994a) and shortly afterwards in his arti- cle »Shaking the Rock Narcotic« (Reynolds 1994b: 28-32). In connection to Tortoise he used »post-rock« in his review article of their 1996 album Mil- lions Now Living Will Never Die (Reynolds 1996). Reynolds describes music he labels as ›post-rock‹ where bands use guitars »in [non-rock] ways« to manipulate »timbre and texture rather than riff[s]« and »augment rock's basic guitar-bass-drums lineup with digital technology such as samplers and sequencers« (Reynolds 2017: 509). Most members of Tortoise act as multi- instrumentalists that play different combinations of instruments at different times. As Jeanette Leech (2017: 16) has stated, a typical Tortoise stage set- up can feature vibraphones, marimbas, two drum sets, and a multitude of synthesizers. With regards to the instrumental setup Leech draws up paral- lels with progressive rock of the 1970s but points to one decisive difference within the genres: »for Tortoise, the range of instrumentation [is] about creating mood, not showboating« (ibid.). -
Rock Music Is a Genre of Popular Music That Entered the Mainstream in the 1950S
Rock music is a genre of popular music that entered the mainstream in the 1950s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."[1] In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included new wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal. A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
Populärmusik, Konstmusik Eller Bara Musik?
Christian Berndalen Populärmusik, konstmusik eller bara musik? En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk Popular Music, Classical Music or Just Music? A study of elements from Classical Music in three pieces of popular music Examensarbete 15 hp Lärarprogrammet Datum: 2012-03-20 Handledare: Dan Olsson 1 Musikhögskolan Ingesund 671 91 Arvika Tfn 0570-385 00 Fax 0570- 804 38 [email protected] www.imh.kau.se Innehåll Sammanfattning ............................................................................................................................... 3 Abstract ............................................................................................................................................ 4 1 Inledning ........................................................................................................................................ 5 1.1 Konstmusik och populärmusik - två djupt rotade begrepp .................................................... 5 1.2 Syfte, frågeställningar och avgränsning ................................................................................. 6 2.1 Konstmusik och populärmusik - några definitioner ............................................................... 8 2.2 Hur och när uppstod begreppen? En begreppshistoria ......................................................... 10 2.3 Distinktionen konstmusik - klassisk musik .......................................................................... 11 2.4 Intentioner i och med ett musikaliskt verk .......................................................................... -
Cyclic Defrost Magazine Issue 11
SUSPEND YOUR DISBELIEF! UPDATE ##### “Guaranteed to turn heads” FLUX “Caribou’s new album is fan-fucking-tastic" RIP & BURN #### “It still sounds like nothing else on Featuring members of: the planet” MODEST MOUSE,THE BETA BAND MUSIC WEEK BLOOD BROTHERS, BUILT TO SPILL “Fresh and groundbreaking... FREE ASSOCIATION,AIRBORN AUDIO a welcome PITCHFORKMEDIA PRETTY GIRLS MAKE GRAVES return from the 8.4/10 influential artist” “A highly ANTI-POP CONSORTIUM organic blend of MURDER CITY DEVILS underground hip-hop and and indie-rock” ROOTS MANUVA STYLUS B+ FORMERLY DAN SNAITH’S “Short, blunt and skitless, AGCT seethes with everything post-aught genre-fucking needs” NEW ALBUM OUT NOW ON SELF-TITLED DEBUT OUT NOW ON ISSUE 11 CONTENTS CDITORIAL 4 COVER DESIGNER: JOE SCERRI/LAKE LUSTRE Hola! Welcome to issue eleven. This issue is our first mass assault on Europe with by Bim Ricketson two thousand copies touching down at Sonar 2005 in Barcelona along with a double CD sampler of Australian music courtesy of Austrade and the Australia Council. Perhaps 8 VELURE you are one of the lucky folk sitting back in the Catalunyan sun sipping on cava sud- We welcome your contributions and contact: by Anna Burns denly discovering that there is some great music on the other side of the world, or PO Box a2073 10 MONKFLY/FREQUENCY LAB alternately you are sitting snug and warm on a couch under a doona in share house- Sydney South by Angela Stengel hold in wintery St Kilda or Newtown wondering ‘where can I get a copy of this CD?’. -
Rebecca Foon Bio 2017
REBECCA FOON BIOGRAPHY 2017 Cellist and composer Rebecca Foon has been a fixture of the Montréal music community for two decades, since moving to the city from her native Vancouver in the late 1990s. She co-founded the Juno Award- winning contemporary chamber group Esmerine in 2002 and was a core member of the celebrated cult post-punk band Thee Silver Mt. Zion Memorial Orchestra from 2001-2008 and the experimental instrumental collective Set Fire To Flames. Foon was also a founding member of the instrumental trios The Mile End Ladies String Auxiliary and Fifths of Seven. Alongside over a dozen albums as a composer and player with the aforementioned projects, Foon has a long list of recording and performing credits as a guest player, and several soundtrack projects under her belt (including the award-winning tar sands documentary H2Oil). Most recently, she has been a member of Colin Stetson’s acclaimed “Sorrow” orchestra (performing Gorecki’s 3rd Symphony) and part of the band for the live documentary performances of filmmakers Sam Green and Brent Green Saltland is Foon’s ‘solo’ project, the seeds of which were planted with a series of local Montréal performances under her own name in 2010- 2011. As a first album took shape in 2012, Foon wished to give the music its own moniker and identity, and to leave room for the project to take on various members and configurations. Saltland’s 2013 debut record I Thought It Was Us But It Was All Of Us was released to broad critical acclaim and featured a long list of Foon’s friends and past collaborators as guest musicians, including Jamie Thompson (The Unicorns, Islands), Richard Reed Parry and Sarah Neufeld (Arcade Fire), Mishka Stein (Patrick Watson) and Laurel Sprengelmeyer (Little Scream). -
Neue Selbstverständlichkeiten
# 2017/32 dschungel https://jungle.world/artikel/2017/32/neue-selbstverstaendlichkeiten Constellation Records boykottiert Israel Neue Selbstverständlichkeiten Von Jonas Engelmann Auf Godspeed You! Black Emperor konnten sich viele Hörer einigen. Die Betreiber ihres Labels Constellation Records wollen den Export ihrer Platten nach Israel vermeiden. »Ich war den größten Teil meiner Punkrock-Jugend der einzige Jude im Raum«, sagte Efrim Menuck in einem Interview über die Gründung seiner Band A Silver Mt. Zion im Jahr 2000. Die Aufnahmen zum Debütalbum »He Has Left Us Alone, But Shafts Of Light Sometimes Grace The Corner Of Our Rooms … « empfand Menuck dagegen als eine »jüdische Erfahrung«; mit drei anderen jüdischen Musikern zu arbeiten habe ihn zum ersten Mal seine Isolation vergessen lassen. Im gleichen Jahr erschien auch das Album »Lift Your Skinny Fists Like Antennas To Heaven« seiner Hauptband Godspeed You! Black Emperor, das trotz seiner Komplexität und Sperrigkeit in zahlreichen Jahresbestenlisten auf den vordersten Plätzen landete. Ästhetisch und politisch dem DIY-Punk-Gedanken verpflichtet, ließ sich die flächige Musik schwer einem Genre zuordnen, die Schublade Postpunk, in die sie häufig gesteckt wurde, war eigentlich zu klein. Felix Klopotek hat das Album als »Klagegesang auf die kulturindustrielle Domestizierung der Punkbewegung« beschrieben, und gerade die politischen Aspekte ihrer Musik hat die Band trotz fehlender Songtexte stets betont, durch Linernotes, Interviews und andere Verlautbarungen. Immer ging es um die Widersprüche des Kapitalismus, dem sich die Band trotz aller Mühe nicht vollständig entziehen konnte, und um politische Bezüge von Michail Bakunin über Emma Goldman bis zum Schwarzen Block. Allerdings war man darauf bedacht, das Prozesshafte und Unabgeschlossene, das auch der Musik innewohnte, zu betonen, Ambivalenzen und politische Differenzen auszuhalten. -
Delusion by Laurie Anderson
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, May 7, 2010, 8pm Saturday, May 8, 2010, 8pm Zellerbach Hall Delusion by Laurie Anderson with Special Guest Musicians Colin Stetson & Doug Wieselman Production Credits Laurie Anderson Music Text & Visual Design Colin Stetson Special Guest Musician Doug Wieselman Special Guest Musician Amy Khoshbin Video Design & Live Mix Rus Snelling Production & Lighting Dave Cook Front-of-House Audio Anderson Laurie Maryse Alberti Video Director of Photography Toshiaki Ozawa Additional Video ELUSION is a meditation on life and language. Bob Currie Story Team DConceived as a series of short mystery plays, Rande Brown Story Team Delusion jump-cuts between the everyday and the mythic. Combining violin, electronic puppetry, Shane Koss Audio Rig Design music and visuals, Delusion tells its story in the col- Konrad Kaczmarek Audio Software Design orful and poetic language that has become Laurie Ned Steinberger Violin Design Anderson’s trademark. Brad Hampton Tour Management “The electronically altered voice I have used for many years, the one that turns my voice into a World Premiere February 17, 2010, Cultural Olympiad, male voice, has been gradually evolving from a stock Vancouver, British Columbia voice of authority into a more nuanced one,” says Ms. Anderson. “I have written Delusion as a conver- sation between that voice and my own.” Delusion was commissioned by Vancouver 2010 Cultural Olympiad, Vancouver, and barbicanbite10, London. The stories inDelusion come from ma ny worlds — technical, scientific, personal and mythic—and from Additional support provided by BAM for the 2010 Next Wave Festival; Cal Performances; various states of consciousness, dream and medita- Stanford Lively Arts; and the generosity of Sarah Ratchye and Ed Frank. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.