Large-Scale Strategy and Compositional Design in the Early Music of Genesis
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Budget Plan Moves to Senate by Jane Rider Upon Its Receiving a Telephone "A Lot of Our Funding Is Based Within This Total Amount
Quote the Index Rip-off"fails p. 3 "We were able to sell our Definition as weapon 4 product." uwm Student art displayed 6 —Scott Dacey, United Council Stuermer treats fans 7 president-elect, on that group's Panthers split 9 successful efforts to retain state campuses in UC membership But is it art?. 12 See story below Vol. 28, No. 56 April 24, 1984 Budget plan moves to Senate by Jane Rider upon its receiving a telephone "A lot of our funding is based within this total amount. If it does on the computer printout on how After a review of 92 organiza not receive a phone system, SFC's much (the organization) spent this tions' budget requests, the Senate deficit would be reduced to $98. year provided by the Dean of Finance Committee made recom Students Office (Carmen Witt)," The committee's nine mem mendations for the allocation of said Nichole Gantshar, chair of bers' criterion for their alloca $243,398 in segregated fees for the Senate Finance Committee. tion recommendations is based on the 1984-85 fiscal year last Thurs Gantshar said the recommenda services, salaries and travel ex day night. tions barely include any of the penses. The services an organiza travel expenses requested. These recommendations will be tion will provide to students are "We're asking groups to come voted on by the Student Senate listed as the most 'important back and ask for those amounts in Sunday night at 6 p.m. in Bolton criterion used by the SFC. 85. A majority vote is needed for October to fund their travel ex approval of such legislation. -
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Bassic Fundamentals Course Take The Next Step On Your Bass Journey A Massive 10 Hours Of Lessons Covering Every Area Of Playing “Every bass player starts with the same goal - a solid foundation Building a strong, all-round set of bass skills can be hard work, especially when there are holes in that foundation. To avoid any pit falls you need a structured study program with a clear, simple road map covering every aspect of playing. That can be hard to find! To remedy this problem, I created Bassic Fundamentals, a huge course covering the basics of every essential area from technique to bass line creation to music theory, sight reading, bass setup, effects and much, much more. It really is a one size fits all course. Bassic Fundamentals will provide you with the skills necessary to easily progress and develop your bass playing in any area or style you desire – always building on a strong core and foundation” Mark J Smith (Creator of Talkingbass) “I took the Basic Fundamentals course shortly after picking up the instrument. Nine months after picking up the instrument and 6 months after starting the course, I went to an audition.” Mark Mahoney – USA “I play in church most weeks and wouldn’t have got anywhere near the level I’m at without these lessons.” Rob P. – Australia “After about six months of getting nowhere, I bought the Bassic Fundamentals course. My playing has been turbo charged.” Matthew Ogilvie – Western Canada “Bassic Fundamentals gave me a good starting point for practising different techniques.” Alexander Fuchs – Germany Bassic Fundamentals Course Breakdown Module 1: The Core Foundation Lesson 1-1 Course Introduction In this lesson we look at the course ahead and the kind of topics we’ll be covering Lesson 1-2 Practice Tips & Warmups Here we look at how to create a simple practice routine and work through some basic warmup exercises both on and away from the instrument Lesson 1-3 Tuning In this lesson we look at several different ways of tuning the bass: Tuning to an open string; Tuning with harmonics; Using an electronic tuner. -
RANDY-NEWMAN-Little-Criminals-Songbook-.Pdf
tFa-. rË I T RandyNewnrran i I LITTLE GRIMIÍ{AI.S RandyNewman has emergedas one of the most importantcom- RANDYNEWMAN posersand songwriters in popularmusic. His rise Írom "cult idol" slatusto hiscurrent international recognition as a giftedperformer andcomposer has been chÍonicled by all forms oÍ media, as well as byfellow artists. Commercially,Newman is best knownas the writeroÍ hrtsongs suchas "lvlamaTold Me Not To Come,"recorded by ThreeDog "l Night,and Thinklt's GoingTo RainToday," recorded by Judy Collinsand Dave Van Ronk, among others. Over the lasl five years, RandyNewman songs have appeared on albumsby inteÍpretersas diverseas Art Garfunkel,Ringo Starr,Barbra Streisand, Etta James,Joe Cocker, Linda Ronstadt, Bonnie Raitt and Sonny Terry & BrownieMcGhee. Newman also received a greatdeal o{ attention for his work on the soundtrackof f\,4ickJagger's Pertormance, in whichhe conducted,sang and accompanied himself on pianoon "GoneDead Train." "RandyNewman's music Bornin New Orleans, Newman moved to CaliÍorniawith his family at is deeplyentrenched in anearly age At6 hebegan playing piano. At 12he díove headlong Americana." intomuslc theory, a studywhich he latercontinued at U.C.L.A. Threeof Newman'suncles, AlÍred. Lionel and Emil,are muchre- spectedconductors and film score composers (in 1972, Newman premieredSail Away at New York'sPhilharmonic Hall with Emil conducting,he debutedGood Old Soys at the AtlanticPhil- harmonrc).From his deceptively simple piano accómpanimênts to hismasterÍul use of full orchestra, Randy Newman's music is deeply entrenchedin Americana.Slrains of SteohenFoster. blues and countryriffs, a sophisticateduse of rhythmand rhymethat echoes theshow tunes and classic pop balladry oÍ PoíteÍ and Gershwin and Hart(Newman, inÍact, began his career writing glossy Brill Building typepop tunes)underlie his work.Many oÍ his songsdeal with ordinarypeople in ordinarysituatjons (he once said that what he reallydoes is putshort stories to music),but no writerin contem- porarymusic has managed to carve out a persona!niche in quite the wayRandy Newman has. -
TOUR DE FER 20 Colour: Greens of the Stone Age / Weight: 14.80Kg
TOUR DE FER 20 Colour: Greens Of The Stone Age / Weight: 14.80Kg SPECS Frame Reynolds 725 Heat-Treated Chromoly FEATURES Fork Genesis Full Chromoly - Reynolds 725 CrMo tubeset. Headset PT-1770 EC34 Upper / EC34 Lower - Shimano 3x10 speed drivetrain. Hanger Integraded - Shimano dynamo hub with B&M lights. COMPONENTS - Schwalbe Marathon touring tyres. Handlebars Genesis Alloy 18mm Rise, 8 Deg Backsweep, XS = 580mm, S/M = 600mm, L/XL = 620mm - Mudguards included. Stem Genesis Alloy, 31.8mm, -6 Deg, 100mm - Tubus rear rack, Atranvelo front rack. Grips/Tape Genesis Vexgel Saddle Genesis Adventure Seatpost Genesis Alloy 27.2mm XS/S/M = 350mm, L/XL = 400mm Pedals NW-99k With Cage DRIVE TRAIN Shifters Shimano Deore SL-M6000 3x10spd GEOMETRY XS S M L XL Rear Derailleur Shimano Deore RD-M6000-SGS Seat Tube 450 480 510 530 570 Front Derailleur Shimano Deore FD-T6000-L-3 Top Tube 533 547 578 604 636 Chainset Shimano FC-T611 44/32/24t, 170mm Frame Reach 365 375 395 415 435 BB Shimano BB-ES300 Frame Stack 566 580 599 618 637 Chain KMC X10 Head Tube 125 140 160 180 200 Cassette Shimano CS-HG500 11-34t Head Angle 71 71 71 71 71 BRAKES Seat Angle 73.5 73.5 73 73 72.5 Brakes Promax DSK-717RA Chainstay 455 455 455 455 455 Brake Levers Promax XL-91 BB Drop 75 75 75 75 75 Rotors Promax DT-160G, 160mm, 6 bolt Wheelbase 1041 1056 1083 1109 1136 WHEELS & TYRES Fork Offset 55 55 55 55 55 Rims Sun Ringle Rhyno Lite Standover 758 778 799 807 843 Hubs Shimano Front - DH-3D37 Dynamo Hub / Rear - FH-M4050 Stem 100 100 100 100 100 Spokes Steel 14g Handlebar 580 600 600 620 620 Tyres Schwalbe Marathon, 700 x 37c Crankarm 170 170 170 170 170 * The image above is for illustration purposes only. -
2021 GV80 Getting Started Guide
GETTING STARTED GUIDE GENESIS GV80 GETTING STARTED GUIDE AUDIO, CONNECTIVITY, AND NAVIGATION Thank you for joining the Genesis family. This easy-to-follow guide will show you how to use various Genesis GV80 features and how to adjust their settings to your preferences. We hope you enjoy the distinctive luxury of a customized and convenient ownership experience. TABLE OF CONTENTS PHONE PROJECTION 3 PHONE PAIRING 4 CUSTOM BUTTON 6 MAKING A CALL 7 NAVIGATION 10 DYNAMIC VOICE Recognition 13 Dual VOICE Recognition 14 MAP DISPLAYS 15 Advanced DRIVER Assistance SYstems 17 Main menu PHONE PROJECTION Android AutoTM and Apple CarPlay® allow you to access the most commonly used smartphone features, including calling, navigation, text messaging, and playing music all from your driver’s seat. 1. ‘Connect’ a USB data cable from your phone to the vehicle’s USB port.* Android Auto APPLE CARPLAY 2. ‘Allow permission’ from your phone to connect to your vehicle. Please note that your phone must be unlocked. Android Auto APPLE CARPLAY 3. Enjoy using the applications displayed on your vehicle’s multimedia screen. Android Auto APPLE CARPLAY Note Android Auto users will be prompted to view a tutorial. Select your option and proceed. *USB data port will typically be located in or near the front in-dash console. Check your vehicle’s owner’s manual for specific location. Data cable for iOS device is required for Apple CarPlay. OEM data cables are recommended. Apple CarPlay is a registered trademark of Apple Inc. Android Auto is a trademark of Google LLC. 3 ONLINE RESOURCES AND INFORMATION AT MYGENESIS.COM Main menu PHONE PAIRING 1. -
Pixar's Cars 3 Trivia 1
Pixar's Cars 3 Trivia 1. There are one winner and how many losers according to Lightning Mcqueen’s opening pep talk? a. 42 losers, I eat losers for breakfast 2. Where does the opening race take place? a. Motor Speedway of the South 3. What is the first and last name of the new Dinoco race car? a. Cal Weathers 4. What is the name of Chick Hick’s show? a. Chick’s Picks 5. Who is Natalie Certain? a. Statistical Analyst 6. What number is on Jackson Storm’s car? a. 20 7. Who said, “It’s Futile to resist change man.” a. Fillmore 8. Where is the rookie race car Gabriel from? a. Santa Cecilia, the same place Coco takes place :) 9. Who is the Mistro of Motivation a. Cruz Ramirez 10. What is the name of Cruz Ramirez’s electronic personal assistant on her phone? a. Hamilton 11. Who said, “You could talk a snowmobile into an air conditioner” a. Cruz Ramirez 12. What is Lightning McQueens fake name at Thunder Hollow Speedway? a. Chester Whipplefilter 13. What is McQueen’s probability of beating Jackson Storm according to Natalie Certain? a. 1.2% 14. What is Doc Hudson’s home track? a. Thomasville Speedway 15. Who said, “Lifes a beach, and then you drive” a. Lightning McQueen 16. Who did Lightning and Cruz find at Thomasville Speedway? a. Smokey who was Doc Hudson’s trainer 17. According to Smokey what was the best part of Doc Hudson’s life? a. Coaching Lightning McQueen 18. Who is managing Luigi’s Tire Shop while they are out of town with Lightning McQueen? a. -
Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos
Tab.3a - Classifica canzoni Genesis/Ranking Genesis songs Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti 1 Supper's ready 95 25 Fly on a windshield 9 32 Dusk 2 2 The Musical box 92 White mountain 9 Many too many 2 3 Firth of fifth 90 26 Timetable 8 In that quiet earth 2 4 The cinema show 80 27 The chamber of 32 doors 7 Tonight tonight tonight 2 5 The lamia 44 The colony of slippermen 7 A trick of the tail 2 6 Watcher of the skies 42 28 Robbery assault and battery 6 Silver rainbow 2 7 The Carpet crawlers 38 Calling all stations 6 Dreaming while you sleep 2 8 Can Utility and the coastliners 37 Driving the last spike 6 The waiting room 2 9 Dancing with the moonlit Knight 36 Uncertain weather 6 Second home by the sea 2 10 One for the vine 35 All in a mouse's night 6 After the ordeal 2 11 The fountain of Salmacis 32 29 Undertow 5 Horizons 2 12 Mad man moon 30 Abacab 5 33 More fool me 1 13 Entangled 25 Hairless heart 5 It's gonna get better 1 14 Blood on the rooftops 24 Home by the sea 5 Alien afternoon 1 15 The knife 23 Back in NYC 5 Man of our times 1 16 Ripples 22 Visions of angels 5 Land of confusion 1 In the cage 22 Domino 5 Alone tonight 1 17 Seven stones 21 30 I know what I like 4 In the beginning 1 Los endos 21 Duchess 4 Congo 1 18 Dance on a volcano 18 Down and out 4 Shipwrecked 1 Stagnation 18 Squonk 4 The dividing line 1 Duke's travel 18 Turn it on again 4 Your own special way 1 19 Afterglow 17 Me and Sarah Jane 4 If that's what you need 1 20 Looking for someone 15 Evidence of autumn -
MUSIC and MOVEMENT in PIXAR: the TSU's AS an ANALYTICAL RESOURCE
Revis ta de Comunicación Vivat Academia ISSN: 1575-2844 Septiembre 2016 Año XIX Nº 136 pp 82-94 DOI: https://doi.org/10.15178/va.2016.136.82-94 INVESTIGACIÓN/RESEARCH Recibido: 18/12/2015 --- Aceptado: 27/05/2016 --- Publicado: 15/09/2016 Recibido: 18/12/2015 --- Aceptado: 27/05/2016 --- Publicado: 15/09/2016 MUSIC AND MOVEMENT IN PIXAR: THE TSU’s AS AN ANALYTICAL RESOURCE Diego Calderón Garrido1: University of Barcelona. Spain [email protected] Josep Gustems Carncier: University of Barcelona. Spain [email protected] Jaume Duran Castells: University of Barcelona. Spain [email protected] ABSTRACT The music for the animation cinema is closely linked with the characters’ movement and the narrative action. This paper presents the Temporary Semiotic Units (TSU’s) proposed by Delalande, as a multimodal tool for the music analysis of the actions in cartoons, following the tradition of the Mickey Mousing. For this, a profile with the applicability of the nineteen TSU’s was applied to the fourteen Pixar movies produced between 1995-2013. The results allow us to state the convenience of the use of the TSU’s for the music comprehension in these films, especially in regard to the subject matter and the characterization of the characters and as a support to the visual narrative of this genre. KEY WORDS Animation cinema, Music – Pixar - Temporary Semiotic Units - Mickey Mousing - Audiovisual Narrative – Multimodality 1 Diego Calderón Garrido: Doctor in History of Art, titled superior in Modern Music and Jazz music teacher and sound in the degree of Audiovisual Communication at the University of Barcelona. -
Rules and Guidelines
64TH GRAMMY AWARDS® RULES AND GUIDELINES ® Contents © 2021 Recording Academy | May not be reproduced in whole or in part without express permission. INTRODUCTION THESE ARE THE OFFICIAL RULES FOR THE GRAMMY AWARDS. All GRAMMY Awards ballots are cast by Recording Academy Voting Members and are subject to classification and qualifications under rules or regulations approved by the Board of Trustees. From time to time, the Board may vote to amend the qualification criteria for consideration for a GRAMMY Award or other award. 2 GRAMMY AWARDS YEAR CALENDAR GRAMMY AWARDS YEAR CALENDAR 2020 – 2021 Sept.1, 2020 – Sept. 30, 2021 Release Eligibility Period March 1, 2021, 11:59 P.M. PT Deadline to apply for membership for 64th GRAMMY Awards. Fees must be paid in order to qualify for voting. July 6, 2021, 9 A.M. PT Media Company Registration begins Aug. 24, 2021, 6 P.M. PT Media Company Registration ends July 13, 2021, 9 A.M. PT First-round Online Entry Process (OEP) Access Period begins July 29, 2021, 6 P.M. PT First-round Online Entry Process (OEP) Access Period ends Aug. 17, 2021, 9 A.M. PT Final-round Online Entry Process (OEP) Access Period begins Aug. 31, 2021, 6 P.M. PT Final-round Online Entry Process (OEP) Access Period ends Oct. 22, 2021 - Nov. 5, 2021 First-round Voting TBD Nominations announced Dec. 6, 2021 - Jan. 5, 2022 Final-round Voting 14 days after the announcement of nominations Deadline for errors and omissions to the nominations 2022 Jan. 31, 2022 64th Premiere Ceremony Jan. 31, 2022 64th GRAMMY Awards 3 TABLE OF CONTENTS 2 INTRODUCTION -
Citymac 2018
CityMac 2018 City, University of London, 5–7 July 2018 Sponsored by the Society for Music Analysis and Blackwell Wiley Organiser: Dr Shay Loya Programme and Abstracts SMA If you are using this booklet electronically, click on the session you want to get to for that session’s abstract. Like the SMA on Facebook: www.facebook.com/SocietyforMusicAnalysis Follow the SMA on Twitter: @SocMusAnalysis Conference Hashtag: #CityMAC Thursday, 5 July 2018 09.00 – 10.00 Registration (College reception with refreshments in Great Hall, Level 1) 10.00 – 10.30 Welcome (Performance Space); continued by 10.30 – 12.30 Panel: What is the Future of Music Analysis in Ethnomusicology? Discussant: Bryon Dueck Chloë Alaghband-Zadeh (Loughborough University), Joe Browning (University of Oxford), Sue Miller (Leeds Beckett University), Laudan Nooshin (City, University of London), Lara Pearson (Max Planck Institute for Empirical Aesthetic) 12.30 – 14.00 Lunch (Great Hall, Level 1) 14.00 – 15.30 Session 1 Session 1a: Analysing Regional Transculturation (PS) Chair: Richard Widdess . Luis Gimenez Amoros (University of the Western Cape): Social mobility and mobilization of Shona music in Southern Rhodesia and Zimbabwe . Behrang Nikaeen (Independent): Ashiq Music in Iran and its relationship with Popular Music: A Preliminary Report . George Pioustin: Constructing the ‘Indigenous Music’: An Analysis of the Music of the Syrian Christians of Malabar Post Vernacularization Session 1b: Exploring Musical Theories (AG08) Chair: Kenneth Smith . Barry Mitchell (Rose Bruford College of Theatre and Performance): Do the ideas in André Pogoriloffsky's The Music of the Temporalists have any practical application? . John Muniz (University of Arizona): ‘The ear alone must judge’: Harmonic Meta-Theory in Weber’s Versuch . -
News Briefs the Elite Runners Were Those Who Are Responsible for Vive
VOL. 117 - NO. 16 BOSTON, MASSACHUSETTS, APRIL 19, 2013 $.30 A COPY 1st Annual Daffodil Day on the MARATHON MONDAY MADNESS North End Parks Celebrates Spring by Sal Giarratani Someone once said, “Ide- by Matt Conti ologies separate us but dreams and anguish unite us.” I thought of this quote after hearing and then view- ing the horrific devastation left in the aftermath of the mass violence that occurred after two bombs went off near the finish line of the Boston Marathon at 2:50 pm. Three people are reported dead and over 100 injured in the may- hem that overtook the joy of this annual event. At this writing, most are assuming it is an act of ter- rorism while officials have yet to call it such at this time 24 hours later. The Ribbon-Cutting at the 1st Annual Daffodil Day. entire City of Boston is on (Photo by Angela Cornacchio) high alert. The National On Sunday, April 14th, the first annual Daffodil Day was Guard has been mobilized celebrated on the Greenway. The event was hosted by The and stationed at area hospi- Friends of the North End Parks (FOTNEP) in conjunction tals. Mass violence like what with the Rose F. Kennedy Greenway Conservancy and North we all just experienced can End Beautification Committee. The celebration included trigger overwhelming feel- ings of anxiety, anger and music by the Boston String Academy and poetry, as well as (Photo by Andrew Martorano) daffodils. Other activities were face painting, a petting zoo fear. Why did anyone or group and a dog show held by RUFF. -
The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet.