Cuneiform Artist News, Tours & Websites Winter 2010
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Food Festival Mungo National Park Gabrielle Chanel
FOOD FESTIVAL in Australia A Guide to MUNGO NATIONAL PARK Edition GABRIELLE 39 CHANEL. Spring Fashion Manifesto 2021 Image Credit: Jimmy Emms WELCOME! RESERVATIONS As we approach spring we are a road trip, starting in Griffith the gourmet capital of the region. & ENQUIRIES looking forward to improved weather and some long standing If you havent already I encourage you to join events that we have all missed. our new Sharp Traveller Club which replaces CALL 1300 55 66 94 the Sharp Flyer Programme. If you have sharpairlines.com.au I am looking forward to the events featured any questions in relation to our new system in this edition including the Sydney Hobart please do not hesitate to call our friendly Yacht Race, Melbourne Jazz Festival, and the reservations team on 1300 55 66 94 HEAD OFFICE Festival of King Island. If you are on Flinders 44 Gray Street Island during this time you maybe lucky Hamilton Victoria 3300 Take care and stay safe. T: 1300 55 66 94 enough to see the Yacht passing on their way E: [email protected] to the finish. Or if you prefer to get out and explore our Malcolm Sharp great country, the Riverina Region and the MANAGING DIRECTOR LIKE TO ADVERTISE? southwest of New South Wales is ideal for Editorial & Advertising Contact Heidi Jarvis T: 0438 778 161 E: [email protected] In This Edition GET UP CLOSE DISCOVER THE MELBOURNE & INTIMATE 22 FASCINATING INTERNATIONAL UNDERGROUND 4 JAZZ FESTIVAL 34 OF TASMANIA MUSIC FOR FOOD THE SENSES FESTIVAL MUSIC TO IN AUSTRALIA 8 YOUR EARS 40 A GUIDE TO MUNGO A TASTE 12 NATIONAL PARK 42 OF SALT KILLIECRANKIE CONTEMPORARY WEARABLES 44 ROLEX DOWN SYDNEY HOBART GABRIELLE CHANEL. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
22Nd International Congress on Acoustics ICA 2016
Page intentionaly left blank 22nd International Congress on Acoustics ICA 2016 PROCEEDINGS Editors: Federico Miyara Ernesto Accolti Vivian Pasch Nilda Vechiatti X Congreso Iberoamericano de Acústica XIV Congreso Argentino de Acústica XXVI Encontro da Sociedade Brasileira de Acústica 22nd International Congress on Acoustics ICA 2016 : Proceedings / Federico Miyara ... [et al.] ; compilado por Federico Miyara ; Ernesto Accolti. - 1a ed . - Gonnet : Asociación de Acústicos Argentinos, 2016. Libro digital, PDF Archivo Digital: descarga y online ISBN 978-987-24713-6-1 1. Acústica. 2. Acústica Arquitectónica. 3. Electroacústica. I. Miyara, Federico II. Miyara, Federico, comp. III. Accolti, Ernesto, comp. CDD 690.22 ISBN 978-987-24713-6-1 © Asociación de Acústicos Argentinos Hecho el depósito que marca la ley 11.723 Disclaimer: The material, information, results, opinions, and/or views in this publication, as well as the claim for authorship and originality, are the sole responsibility of the respective author(s) of each paper, not the International Commission for Acoustics, the Federación Iberoamaricana de Acústica, the Asociación de Acústicos Argentinos or any of their employees, members, authorities, or editors. Except for the cases in which it is expressly stated, the papers have not been subject to peer review. The editors have attempted to accomplish a uniform presentation for all papers and the authors have been given the opportunity to correct detected formatting non-compliances Hecho en Argentina Made in Argentina Asociación de Acústicos Argentinos, AdAA Camino Centenario y 5006, Gonnet, Buenos Aires, Argentina http://www.adaa.org.ar Proceedings of the 22th International Congress on Acoustics ICA 2016 5-9 September 2016 Catholic University of Argentina, Buenos Aires, Argentina ICA 2016 has been organised by the Ibero-american Federation of Acoustics (FIA) and the Argentinian Acousticians Association (AdAA) on behalf of the International Commission for Acoustics. -
Gruppo È Nella Classica Formazione in Quartetto Con Elton Dean, Mike Ratledge, Hugh Hopper E Robert Wyatt
Page 3 of 9 gruppo è nella classica formazione in quartetto con Elton Dean, Mike Ratledge, Hugh Hopper e Robert Wyatt. Era un periodo di tensioni e di riflessioni. Elton Dean cercava di tirare i compagni sempre più verso il jazz e l'avanguardia. Robert Wyatt non voleva abbandonare gli scenari del rock dadaista. Gli altri due partner erano un po' indecisi. I due concerti che si erano tenuti in Olanda nei giorni immediatamente precedenti non erano andati troppo bene, poco pubblico, troppo nervosismo. Ma la magia del pubblico appassionato di Amsterdam riesce a far decollare la macchina morbida. I temi sono affrontati in maniera un po' aspra, secca, senza compiacimenti, ma l'incantesimo riesce per l'ennesima volta e il concerto si sviluppa con intensità, foga e determinazione. Curiosamente Wyatt non è mai impegnato alla voce e il gruppo si esibisce solo sul versante strumentale. Ci sono temi ancora in fase embrionale, come le splendide “Teeth” e “Virtually” che poi verranno presentate nell'album Fourth che i Soft Machine stavano registrando in quei mesi e che verrà completato poche settimane dopo questo mini tour olandese. Con l'album Floating World Live ci spostiamo ad una versione successiva dei Soft Machine. L'album, pubblicato da Moonjune Records, ci propone una registrazione dal vivo effettuata nel gennaio 1975 dalla ormai mitica Radio Bremen, certamente una delle emittenti che più hanno contribuito a mantenere viva un'epoca ormai lontana grazie alle preziose documentazioni dei concerti da loro coraggiosamente organizzati. La band è agli inizi di una nuova fase e l'arrivo di Allan Holdsworth alla chitarra elettrica diventa l'occasione per ristrutturare completamente il repertorio del gruppo. -
Festival Rock in Opposition 170912.Pdf
Table des matières Edito ........................................................................................................................... 3 Présentation de l’association Rocktime ...................................................................... 5 Présentation de la 5eme édition ................................................................................. 6 Programmation ........................................................................................................... 7 Présentation des groupes ........................................................................................... 8 Magma (France) ..................................................................................................... 8 Caravan (Royaume-Uni)....................................................................................... 10 Thiking Plague (USA) ........................................................................................... 11 One Shot (France) ................................................................................................ 12 We Insist ! (France) .............................................................................................. 13 Spoke Orchestra (France) .................................................................................... 14 Kafka & Benjamin De La Fuentes (France) .......................................................... 15 Erik Baron / Elektrik Strings Aarkestra (France) ................................................... 16 Strange Enquête (France) ................................................................................... -
Freier Download BA 67 Als
BAD 67 ALCHEMY 1 Martin Büsser gewidmet 1968 - 2010 2 WHAT A DIFFERENCE A NIGHT MAKES Ah, Serenade kommt tatsächlich von sereno. Weil sie unter heiterem Himmel stattfindet. Der 10. August 2010 ist so ein Abend, ideal, um ihn beim WÜRZ- BURGER HAFENSOMMER mit dem PORTICO QUARTET zu genießen. Vier le- ger gekleidete Jungmänner entern die schwimmende Bühne hinter dem Heiz- kraftwerk und beginnen, die genial verhuschten Federwölkchen über uns abzu- malen. Duncan Bellamy an den Drums, Milo Fitzpatrick am Kontrabass, Nick Mul- vey klöppelt auf etwas, das sich Hang Drums nennt und aussieht wie drei Wok- pfannen und Jack Wyllie bläst abwechselnd Tenor- und Sopranosaxophon. Sie präsentieren ihr Isla-Programm und wenige Takte genügen, um auf den voll be- setzten Treppenstufen zu begreifen, warum die Londoner für den Mercury Prize 2008 nominiert waren, auf Peter Gabriels Label Real World publizieren und eu- ropaweit als Darlings herumgereicht werden. Der melodische Sound des Hang, einer Percussion-Novität von Panart in Bern, verbreitet mit repetitiven, harmoni- schen Mustern aus nur einer Handvoll Tönen die Wärme und den hypnotischen Sog von Trinidad-Steel-Drums, erinnert stellenweise an Harfenarpeggios, mit bloßen Händen gespielt auch an eine Mbira. Das Quartett lässt in seinen Mustern Debussy und Nyman mit Tortoise vexieren. Fitzpatrick zupft warme Bassriffs. Bellamy tickelt, tüpfelt und wischt dazu funkelnde und federleichte Beats. Und schon ist jeweils der schönste Groove beieinander, etwa bei ‚Dawn Patrol‘ mit seinem simplen Pizzikatodrive, in den Wyllie hell und sanglich betörend einfädelt. Der Clou sind jedoch klangliche Accessoires, die er mit Delay- und Loop-Effekten unterlegt, einfach das Klacken der Klappenmechanik, lang gezogene oder kas- kadierende Dauertöne, das Fiepen einer Melodica. -
Greek Centre Evaluation Report
Research Unit in Public Cultures Faculty of Arts From Ethnic Enclave to Cosmopolitan Cultures: Evaluating the Greek Centre for Contemporary Culture in the City of Melbourne Daniella Trimboli, Tia Di Biase, Barry Burgan and Nikos Papastergiadis 1 2 From Ethnic Enclave to Cosmopolitan Cultures: Evaluating the Greek Centre for Contemporary Culture in the City of Melbourne I EXECUTIVE SUMMARY II Acknowledgements III Research Partners & Evaluation Team 1. Introduction 1.1 Aims 1.2 Research Methodology 1.3 Diaspora Cultures in Globalising Cities 1.3.1 The History of the Greek Community of Melbourne 1.3.2 The Greek Precinct in the City of Melbourne 2. The Greek Centre for Contemporary Culture 2.1 Membership Engagement 2.2 Programming 2.2.1 Education Programme and Language Schools 2.2.2 Seminars 2.2.3 Events – Other 2.3 Entrepreneurship and Social Justice 2.4 Creative Engagement 2.5 Media Engagement 3. Lonsdale Street Greek Festival 3.1 Estimating the Economic Impact of the Lonsdale Street Greek Festival (LSGF) 2017 3.2 Socio-Cultural Impact of the LSGF 2017 3.3 Recommendations for 2018 Festival and Beyond 4. Future Directions for the GCCC 4.1 Socio-Cultural Challenges 4.1.1 Intergenerational Challenges 4.1.2 Sociality and Connection 4.1.3 Cultural Hybridity 4.1.4 Recommendations 4.2 Spatial Challenges 5. Multiculturalism and Melbourne 5.1 Word Cloud Analysis: Policy, Practice, People 6. Conclusion 7. Key Recommendations 8. References 1 2 From Ethnic Enclave to Cosmopolitan Cultures: Evaluating the Greek Centre for Contemporary Culture in the City of Melbourne I Executive Summary The Greek Community of Melbourne (GCM) has developed and Positive Economic Impacts consolidated its presence in the City of Melbourne primarily The economic evaluation focuses on the 2017 Lonsdale Street through the establishment of a new building. -
'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository ‘Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt Marcus O’Dair School of Media & Performing Arts Room TG53, Town Hall Annexe Middlesex University The Burroughs Hendon London NW4 4BT 0208 411 3717 m.o’[email protected] Abstract Robert Wyatt’s relationship with alcohol is multifaceted. He acknowledges its deleterious effect on aspects of his personal life, most notably on his relationship with wife and creative partner Alfreda Benge, and he has been teetotal since attending Alcoholics Anonymous in 2007-8. In professional terms, however, Wyatt continues to view alcohol positively: as a means to overcome anxiety as a performer and recording artist and as an aid to writing. From this perspective, the fact that Wyatt has not released a solo album since sobering up may be more than mere coincidence. This paper aims to answer two questions. Firstly, what is the evidence that alcohol can reduce anxiety for a performer and recording artist, and increase creativity for a songwriter? Secondly, what is the evidence that this is so in Wyatt’s specific case? In answering these questions, I will draw on secondary research, as well as interviews I conducted with Wyatt and various associated musicians and family members between 2008 and 2013. Introduction Born in 1945, Robert Wyatt came to prominence in the 1960s as drummer and vocalist with Soft Machine – contemporaries of Syd Barrett-era Pink Floyd who toured America with the Jimi Hendrix Experience and became the first rock act to perform at the BBC Proms in London. -
Table of Contents
Table of contents 1. Prologue 3 Introduction 3 “RIO” – categorical misuse 4 A “true” progressive 4 Arnold Schonberg 7 Allan Moore 11 Bill Martin 15 2. California Outside Music Assiciation 19 The story begins 19 Coma coming out 22 Demographical setting, booking and other challenges 23 An expanding festival 23 A Beginner’s Guide 26 Outside music – avant rock 27 1980’s “Ameriprog”: creativity at the margins 29 3. The Music 33 4. Thinking Plague 37 ”Dead Silence” 37 Form and melody 37 The song ”proper” 40 Development section 42 Harmonic procedures and patterns 45 Non-functional chords and progressions 48 Polytonality: Vertical structures and linear harmony 48 Focal melodic lines and patterns 50 Musical temporality – ”the time of music” 53 Production 55 5. Motor Totemist Guild / U Totem 58 ”Ginger Tea” 62 Motives and themes 63 Harmonic patterns and procedures 67 Orchestration/instrumentation 68 Production 69 ”One Nail Draws another” and ”Ginger Tea” 70 1 6. Dave Kerman / The 5UU’s 80 Bought the farm in France… 82 Well…Not Chickenshit (to be sure…) 84 Motives and themes / harmony 85 Form 93 A precarious song foundationalism 95 Production, or: Aural alchemy - timbre as organism 99 7. Epilogue 102 Progressive rock – a definition 102 Visionary experimentalism 103 Progressive sensibility – radical affirmation and negation 104 The ”YesPistols” dialectic 105 Henry Cow: the radical predecessor 106 An astringent aesthetic 108 Rock instrumentation, -background and –history 109 Instrumental roles: shifts and expansions 109 Rock band as (chamber) orchestra – redefining instr. roles 110 Timbral exploration 111 Virtuosity: instrumental and compositional skills 114 An eclectic virtuosity 116 Technique and “anti-technique” 117 “The group’s the thing” vs. -
![IN EXTREMIS" (Cuneiform Rune 113) UPC Code: [0 45775 0113 2 5]](https://docslib.b-cdn.net/cover/2250/in-extremis-cuneiform-rune-113-upc-code-0-45775-0113-2-5-1672250.webp)
IN EXTREMIS" (Cuneiform Rune 113) UPC Code: [0 45775 0113 2 5]
Bio information: THINKING PLAGUE Title: "IN EXTREMIS" (Cuneiform Rune 113) UPC code: [0 45775 0113 2 5] Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://members.aol.com/Cuneiform2/cuneiform.html Thinking Plague is a Colorado-based ensemble that explores the frontiers where rock, folk, jazz and modern symphonic music meet. Through these explorations, the band has created what Journal Wired called "a genre of music unto itself, eclectically derivative in a bold way and spectacularly innovative in the old-fashioned sense of genuine originality." Guitarist/composer Mike Johnson's music combines lyricism with intense and sophisticated rhythmic and harmonic ideas. The band grew out of the basement recording experiments of Johnson and bassist/drummer Bob Drake in the early eighties. In 1982 they formed an ensemble for live performance. They released their first LP, "..a thinking plague," in 1984 on their own Endemic label. They produced and engineered the record themselves, and used minimal funds borrowed from friends or scraped together amongst themselves to press it. Each album cover was hand painted by Bob Drake. Intent on making more powerful recordings and dissatisfied with the chemistry of that first lineup, Johnson and Drake disbanded the group. They began recording new songs and began working with a singer/songwriter named Suzanne Lewis. In 1987 their second album, "Moonsongs," was released by Dead Man's Curve in London. The record was described as "stunning" by Option. In early 1989 reed player Mark Harris joined the group, making clarinet, saxes and flute permanent features of the sound. -
History of Madness
Bio information: THINKING PLAGUE Title: HISTORY OF MADNESS (Cuneiform Rune 180) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://members.aol.com/Cuneiform2/cuneiform.html FILE UNDER: ROCK Led by composer/ guitarist Mike Johnson, Thinking Plague is a Colorado-based ensemble that explores the aural frontier where rock (in all its manifestations), modern classical, folk, and jazz music meet. Journal Wired called Thinking Plague’s work "a genre of music unto itself, eclectically derivative in a bold way and spectacularly innovative in the old-fashioned sense of genuine originality." Defining this genre further, Alternative Press places them, along with the 5uus and “a select array of contemporary Japanese units” in the “vanguard of groups riding the crest of a largely unheralded avant-progressive tsunami… an idiom responsible for some of the 20th century’s most significant musical achievements. …the manner in which Thinking Plague…have condensed only the most fertile (and often the most pulverizing) aspect of the last 30 years of progressive exploration into an nth-degree endgame is nothing short of awe-inspiring.” Thinking Plague grew out of the recording experiments of Johnson and bassist/drummer Bob Drake in the early 1980s. Johnson recalls being: “a classical fan since childhood, which led me to Stravinsky, Prokofiev, Bartok, Shoskatovich, W. Schumann, Britten, etc,…I developed the desire to achieve that kind of expression and depth while using the power or “rawness” of rock instruments or styles. When Bob and I met [1978] we clicked on these lines instantly”[Audion]. They were also inspired by the Art Bears and Henry Cow, who Johnson calls “The true pathfinders…[who] showed the rest of us a new way out of the limited old progressive rock/ jazz of the 70s”[ProgVisions]. -
M騾壻ｿ｡Vol29.Indd
"QS WPM オーストラリア・ビクトリア州［ .FMCPVSOF"6453"-*"］ 通信 5063*4.7*$503*" /&84-&55&3 秋はゆっくり芸術鑑賞 ̶ ハミルトン・アート・ギャラリー この春、続々放送予定！ 初演はまたもやメルボルン！ スポーツ大国オーストラリアの ビクトリア州関連テレビ番組 話題作『ウィキッド』7月に開幕 「スポーツ博物館」誕生 3月22日に放送された『うふふのぷ』（関 2003年 西テレビ）。メルボルンが登場したコーナ 10月にブロ ーはご覧になったでしょうか？ この春は、 ードウェイ その他にも続々とビクトリア州がテレビ番 で開幕、ト 組に登場します。ぜひチェックしてみてく ニ ー 賞3部 ださい！ 門など数々 放送予定 の賞に輝く ミュージカ 『ザ・ベ スト ハ ウ ス12 3 』 ル『ウィキ 4月9日（水）19:57～23:08 3時間スペシャル／フジテレビ ッド』。「オ 「ビックリ展望台BEST3」（仮）コーナーに登場。タレントの柴田理恵さん、飯 沼誠司さんの2人のレポートで、世界中から選んだ驚くべき仕掛けのあるオー ズの魔法使い」の前日譚ともいうべきスト ストラリアの展望台3つを紹介。メルボルンの最新展望台は、さて何位？ ーリーで日本でも話題の作品が、今年オ ーストラリアに初上陸。7月8日よりメルボ スポーツ大国オーストラリアを目いっぱ 『朝だ！生です旅サラダ』 4月5・12・19・26日 8:00～9:30 ルンの「リージェント・シアター」にて上 い楽しめる、「ナショナル・スポーツ・ミ ABCテレビ 演されます。 ュージアム」が3月13日にオープンしまし 4月のマンスリー特集でオーストラリアを紹介。写真家の織作峰子さんが世界 遺産にカメラを向け、旅をします。ビクトリア州からは、メルボルン、ヤラ・ ●問い合わせ先 Wicked Australia た。場所は、オーストラリアンルールスフ バレー、モーニントン半島、グレート・オーシャン・ロードが登場。 Website：http://www.wickedthemusical.com.au/ ットボール（AFL）の殿堂「メルボルン・ クリケット・グラウンド（MCG）」内です。 新博物館の目玉は、イアン・ソープのフ メルボルンは芸術の秋へ 紅葉・黄葉の美しい季節を迎えたメルボルンでは、この秋 ～冬に大規模なアート関連イベントが続々とスタート。いず ルボディスイムスーツや、2000年のシド 屋内で楽しむアートイベント れも屋内で開催されるので、寒い日もゆったりと楽しめます。 ニーオリンピックでキャシー・フリーマン ●『Art Deco 1910-1939』 ●『Melbourne International Design Festival』 が着用して話題となったランニングスーツ 6月28日～10月5日 7月17日～27日 など。その他、AFLやMCGの歴史、モータ ナショナル・ギャラリー・オブ・ビクトリア（NGV） ナショナル・デザイン・センター ロンドンのビクトリア&アルバート美術館に35万 メルボルンのフェデレーション・スクエアで開催 ースポーツやゴルフ、テニス、サッカー、 人以上を集客した企画展。アールデコを世界的な される「メルボルン・インターナショナル・デザ バスケットボールなど多種多様なスポーツ 現象として捉え、絵、宝石類、ファッション、フ イン・フェスティバル」。11日間の会期中に、40 ィルム、車、写真、家具など多種多様なジャンル 以上のイベント（しかもほとんどが無料！）がフ をカバーしているのが特徴で、大人も子 にわたる400点以上の作品を通して、その精神に