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BANDHAPPY to Launch Registration Privileges on January 5 , 2012
For Immediate Release January 4th, 2012 BANDHAPPY to Launch Registration Privileges on January 5th, 2012 – Join the First LIVE Online and In-Person Music Education Service this Thursday! Two New Tutorial Videos for Students and Teachers are Available for Viewing Now! BANDHAPPY, the brand new and first LIVE online and in-person music education service, is pleased to announce the launch of registration abilities beginning at 11am ET on Thursday, January 5th, 2012. Lessons will begin on Monday, January 9th as students are activated into the system. The site has received thousands of requests from students seeking lessons so far, so be patient as BANDHAPPY is approving students on a rolling basis. Teachers are still able to apply and can continue to apply at any time! Rules for application are currently on the BANDHAPPY teacher registration page. Hundreds of teachers have already signed on and are ready to teach! Teachers that have already signed on include Tosin Abasi (Animals as Leaders), Rich Redmond (Jason Aldean Band), Gil Sharone (Stolen Babies), Jeff Loomis (Nevermore), Ben Weinman (Dillinger Escape Plan), Mike Mowery (Outerloop MGMT), Chris Adler (Lamb of God), Willie Adler (Lamb of God), AJ Minette (The Human Abstract), Evan Brewer (The Faceless), Paul Waggoner (Between the Buried and Me), Rody Walker (Protest the Hero), Peter Wichers (Soilwork), Louis Cato (Marcus Miller Band), Spencer Sotelo (Periphery), and more. There are two new tutorial videos available now on YouTube, one for teachers and one for students! The videos assist in walking new students and teachers through the registration process, as well as other important individual points like setting up a lesson, creating your profile, etc. -
2017 Full Line Catalog for ASIA
2017 FULL LINE CATALOG Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories 2017 Accessories Effects & Amplifiers, Guitars, Electric Acoustic Electric Basses, Guitars, www.ibanez.com www.ibanezacoustic.com ©2016 Printed in Japan OCT161070 (ASIA) - All finishes shown are as close as four-color printing allows. www.ibanez.com - All specifications are subject to change without notice. www.ibanezacoustic.com Electric Guitars 2 for more information visit www.Ibanez.com for more information visit www.Ibanez.com 3 Ibanez Electric Guitars Ibanez Electric Guitars Paul Gilbert (Mr. Big) FRM150 Signature Models • FRM 3pc Mahogany/Maple set-in neck • 628mm/24.75" scale Jake Bowen (Periphery) JBM100 MADE IN JAPAN • Mahogany body • Rosewood fretboard w/White dot inlay • JBM 5pc Maple/Walnut neck • Narrow & Tall frets • Maple top/Mahogany body • DiMarzio® Air Classic™/Area 67™/Air Classic™ pickups • Bound Ebony fretboard w/JBM special inlay on 12th fret • Tight-Tune bridge/tailpiece • Jumbo frets w/Prestige fret edge treatment • Chrome hardware ® ™ TR • DiMarzio Titan pickups (Transparent Red) • Gig bag included • Lo-Pro Edge tremolo bridge • Black hardware • Sperzel Trim-Lok locking machine heads in gold • Factory Tuning: 1D, 2A, 3F, 4C, 5G, 6C NEW MODEL Paul Gilbert (Mr. Big) PGMM31 • String Gauge: .011/.014/.019/.032/.044/.056 • PGMM Maple neck • Hardshell case included • 564mm/22.2" scale Jake Bowen (Periphery) • Poplar body JBM20 -
3800 Love Drums Giveaway!
$3,800 LOVE DRUMS GIVEAWAY! THE WORLD’S #1 DRUM MAGAZINE ANIMALS AS LEADERS’ MATT GARSTKA THE SOUL MACHINE 15 CARTER STEPS TO BEAUFORD MASTERING THREE GEARS UP OVER TWO + APRIL 2017 BILLY THOMAS • MATT CHAMBERLAIN • DALE CROVER KRISTEN GLEESON-PRATA • SEAN NOONAN • MEL BROWN REVIEWED: DIXON | ISTANBUL MEHMET | TAMA | TYCOON DRIVE Machined Chain Drive + Machined Direct Drive Pedals The drive to engineer the optimal drive system. mfg Geometry, fulcrum and motion become one. Direct Drive or Chain Drive, always The Drummer’s Choice®. U.S.A. www.DWDRUMS.COM/hardware/dwmfg/ 12 ©2017Modern DRUM Drummer WORKSHOP, June INC. ALL2014 RIGHTS RESERVED. MCD/MDD Drive AD - 2017 (DRUM).indd 1 1/19/17 11:33 AM DRUM11926 RC SD ad Revised Donald Barrett.qxp_Layout 1 1/30/17 12:06 PM Page 1 The Classic Redefined The classic Recording Custom Series has been redefined and redesigned in collaboration with legendary drummer and longtime Yamaha artist Steve Gadd. The simple design of these metal snare drums incorporates a heavy-duty Q-type strainer that is robust yet smooth and features a shell with an outer center bead which helps open up the tone of the drum for crisp, articulate performance. With seven sizes in 1.2mm aluminum, brass, and stainless steel, there is a Recording Custom snare drum to fit your style. But don't just take our word for it. See what other artists, like Donald Barrett, are saying about these snares: 4wrd.it/RC_DONALDBARRETT You’re going to want more than one. These five models have been staples in our back room for years, and while the name says ‘Modern Jazz,’ we’ve found that they are exceptional in almost any musical setting. -
ABSTRACT Ecstatic Utterances Explained: a Companion to Ecstatic Utterances Jim Simmons, M.Div., M.M., M.M. Thesis Chairperson
ABSTRACT Ecstatic Utterances Explained: A Companion to Ecstatic Utterances Jim Simmons, M.Div., M.M., M.M. Thesis Chairperson: Scott McAllister, D.M.A. This paper provides technical and philosophical insight into the composition Ecstatic Utterances. Three distinguishing approaches feature in this thesis: strands, and their accompanying theory; harmonic crescendo and a limited aleatory passage. Of greatest importance amongst these three is the concept of a strand, and the possibilities obtaining therein; possibilities which have crystallized in the writer’s musical and verbal expression, providing methods for both composition and analysis. While these methods remain in need of development, important strides have already been taKen: a detailed analysis of portions of Ecstatic Utterances and a brief theoretical foundation titled “A Beginning to the Discussion of Strands as a Form of Musical Expression: A Conceptual Glossary.” Both documents were developed simultaneously in an attempt to be systematic. All worK is original unless otherwise cited. Ecstatic Utterances Explained: A Companion to Ecstatic Utterances by Jim Simmons, B.M.E., B.M., M.Div., M.M. A Thesis Approved by the School of Music ________________________________ William V. May, Jr., Ph.D., Dean _______________________________ Laurel E. Zeiss, Ph.D., Director of Graduate Studies Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee _________________________________ Scott McAllister, D.M.A., Chairperson _________________________________ Timothy R. McKinney, Ph.D. _________________________________ Eric C. Lai, Ph.D. _________________________________ Joel A. Weaver, Ph.D. Accepted by the Graduate School December 2012 ___________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. -
Universidad Distrital Francisco José De Caldas
UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS DE 2 OBRAS DE LA BANDA ANIMALS AS LEADERS Y APORTES INTERPRETATIVOS PARA LA GUITARRA ELÉCTRICA DENTRO DEL CONTEXTO DEL DJENT JUAN CAMILO MERCHÁN RIOS Código: 20132098012 ENFASIS: INTERPRETACIÓN MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTÁ, D.C OCTUBRE DE 2018 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS DE 2 OBRAS DE LA BANDA ANIMALS AS LEADERS Y APORTES INTERPRETATIVOS PARA LA GUITARRA ELÉCTRICA DENTRO DEL CONTEXTO DEL DJENT JUAN CAMILO MERCHÁN RIOS Código: 20132098012 ENFASIS: INTERPRETACIÓN TUTOR: WILLIAM RICARDO BARRERA TACHA MODALIDAD: MONOGRAFÍA BOGOTÁ D.C OCTUBRE DE 2018 ii Toda buena dádiva y todo don perfecto desciende de lo alto, del Padre de las luces, en el cual no hay mudanza, ni sombra de variación. Santiago 1:17 iii AGRADECIMIENTOS De antemano pido perdón a todos aquellos que olvide mencionar en esta sección, ya que seguramente no alcanzará para agradecer a todos y cada uno de los que contribuyeron, ya sea en mayor o menor medida, a la realización de este trabajo y a mi carrera. Primeramente, doy gracias a Dios, el Autor de mi vida y de la música que tanto amamos, sin Él nada soy; la inspiración, la fortaleza, los dones, talentos y todo que hizo posible el desarrollo de esta carrera, todo se lo debo a Él, a Su amor por mí, por lo tanto, este trabajo está dedicado a mi Señor. A mis padres Jaime Merchán y Anatilde Ríos, porque no me negaron este camino tan maravilloso de la música, y a pesar de cada circunstancia adversa, trataron de respaldarme en todo cuanto pudieron con amor; gracias a Dios por ellos. -
Docility, Resistance and the Indie Guitarist: a Foucaultian Interpretation of the Guitar- Hero Joshua Hochman
Docility, Resistance and the Indie Guitarist: A Foucaultian Interpretation of the Guitar- Hero by Joshua Hochman A thesis submitted to the Faculty o f Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree o f Masters in Music and Culture Carleton University Ottawa, Ontario ©2013 Josh Hochman Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94602-2 Our file Notre reference ISBN: 978-0-494-94602-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
FOAM BORN: (A) the BACKTRACK As Recorded by Between the Buried and Me (From the 2007 Album "Colors")
FOAM BORN: (A) THE BACKTRACK As recorded by Between the Buried and Me (from the 2007 Album "Colors") Transcribed by Paul Waggoner Music by Dan Briggs, Blake Richardson, Tommy Rogers, Paul Waggoner, and Dustie Waring P = 60 1 4 W V gV V f V gV W V gV V f V gW gV V V V gW gV V I 4 gW V V V V V gW V V V V W V V V V W V V gW gW gW gW Gtr I T 7 7 5 7 5 7 8 9 9 8 9 8 9 9 8 9 9 6 9 A 6 6 B 9 10 10 10 10 10 9 10 10 10 10 4 10 10 10 10 4 10 10 7 7 gV W 5 V V V V V V V V 2 W I V V gV V V V V V 4 W 7 11 T 8 8 8 8 8 8 9 9 9 8 8 8 8 8 8 8 8 8 A 10 10 9 9 8 8 6 6 6 B P = 80 8 6 gV V V V V V V V V V V V I 8 gV V V V V V V V V V V V V V V V V V V V V V V V Gtrs II, III T 8 8 8 8 8 8 3 3 3 3 3 3 A 9 9 9 9 9 9 5 5 5 5 5 5 B 9 9 9 9 9 9 6 6 6 6 6 6 7 7 7 7 7 7 3 3 3 3 3 3 Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ FOAM BORN: (A) THE BACKTRACK - Between the Buried and Me Page 2 of 10 12 V V V V V V I gV V V V V V V V V V V V gV V V V V V V V V V V V V V V V V V gV V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V T 4 4 4 4 4 4 1 1 1 1 1 1 8 8 8 8 8 8 3 3 3 3 3 3 A 6 6 6 6 6 6 2 2 2 2 2 2 9 9 9 9 9 9 5 5 5 5 5 5 B 6 6 6 6 6 6 2 2 2 2 2 2 9 9 9 9 9 9 6 6 6 6 6 6 4 4 4 4 4 4 0 0 0 0 0 0 7 7 7 7 7 7 3 3 3 3 3 3 V V V I gV V V gV V f V V V V V V V Gtr IV 0 0 0 T 0 0 0 0 8 8 8 8 8 8 8 8 8 8 8 8 8 A 9 9 9 9 9 9 8 8 8 8 8 8 B V V V V V V V V V V V gV V V V V V V V I gV V V V V Gtr VI 11 14 18 15 T 12 16 16 8 11 8 8 11 15 15 15 A 9 9 9 17 17 B 9 18 13 18 Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ -
Djent — Cyfrowa Neomoderna Metalu?
FOLIA 258 Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura 10(3) 2018 ISSN 2083-7275 DOI 10.24917/20837275.10.3.12 Andrzej Mądro 0000-0002-8107-3652 Akademia Muzyczna w Krakowie Djent – cyfrowa neomoderna metalu? Celem artykułu jest wstępne rozpoznanie w obszarze krystalizacji nowego podga- tunku metalu progresywnego o nazwie djent (czytaj: dżent). Pierwsza część tekstu przedstawia aktualny stan badań, genezę, pionierów i głównych przedstawicieli djentu oraz próbę nakreślenia jego charakterystyki. W dalszej części podjęto pró- bę umiejscowienia jego swoistej poetyki i estetyki w kontekście przemian w sztuce ostatnich dekad, ze szczególnym uwzględnieniem najnowszych teorii i pojęć naro- słych wokół paradygmatu ponowoczesności. Weinstein HeavyMuzyka Metal: iA subkultura Cultural Sociology heavymetalowa stała się przedmiotem badań naukowychRunning withstosunkowo the Devil niedawno. Początek takich działań wyznaczają prace Deeny (WeinsteinMetal, Music 1991) and oraz Politics Roberta Walsera (Walser 1993), a przełom – pierwsza międzynarodowa konferencja naukowaInternational w Salzburgu Society of zatytułowanaMetal Music Studies . Usankcjonowaniem nowej dyscyplinyMetal Music akademickich Studies. badań nastąpiło w roku 2013, kiedy to założono (ismms.online) i zaczęto wydawać cza- sopismo popular music studies, Studiowanie metalu zwykle przyjmuje perspektywę transdyscyplinarną, typo- wą dla całego obszaru łączącą socjologię (subkultury), kul- turoznawstwo i medioznawstwo (wizerunek), a nawet performatykę (rytualizm). Sama muzyka często stanowi jedynie drugi plan. Ale jeśli bliżej przyjrzeć się pod- gatunkom metalu progresywnego zorientowanym na muzykę samą w sobie, na po- szukiwanie nowych form, środków i poszerzanie estetycznego pola, adekwatny ro- dzaj „metalowej muzykologii” wydaje się możliwy. Tym bardziej że wiele albumów i utworów progresywnych wykracza poza standardy muzyki popularnej i może być interpretowana podobnie jak dzieła tzw. muzyki poważnej (Covach, 1997: 23). -
Alexander Vallejo MA Thesis Resubmission
University of Huddersfield Repository Vallejo, Alexander Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques Original Citation Vallejo, Alexander (2020) Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35522/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques ALEXANDER PAUL VALLEJO A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree Master of Music by Research September 2020 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Discordant Systems Thesis.Pdf
!1 Discordant Systems: Uses and Meanings of Rhythmic Difficulty in the Music of Meshuggah and Related Extreme and Progressive Metal Bands A Distinguished Major Thesis presented by Calder Hannan to The Department of Music University of Virginia Charlottesville, Virginia May 2017 !2 Abstract In this thesis, I present a series of close readings of metal texts chosen for their rhythmic difficulty. In the first chapter, I address use of polymeter and hypermeter in the music of the metal bands Meshuggah and Intronaut. I draw conclusions about the many complicating factors involved in conceptualizing Meshuggah’s core rhythmic style, the importance of the consistent use of this style in determining meaning, and compare the meanings expressed in Meshuggah’s music to the very different ones expressed in Intronaut’s music. In the second chapter, I address several instances of tempo ambiguity and tempo change taken from the music of the bands Gojira, Meshuggah, The Contortionist, Animals As Leaders, TesseracT, and Car Bomb. I explore different types of tempo ambiguity and change and their implications for perceptions and conceptions of tempo, pulse, and meter, as well as specific meanings tied more closely to the details of each song. In the third chapter, I address two more songs in which rhythmic difficulty is created by a lack of pattern and/or pulse. I comment on the ways that rhythm can express randomness, its potential for expressing chaos, and the very different ways in which these techniques are central to the images of the bands Meshuggah and The Dillinger Escape Plan. I conclude by drawing attention to a theorized link between heaviness (as in “heavy” metal) and disorientation caused by rhythmic complexity, as well as examining the implications of my analysis and synthesizing with the work of others to draw conclusions about the social place of the type of metal I discuss in the broader musical world. -
Change, Longing, and Frustration in Djent-Style Progressive Metal
CHANGE, LONGING, AND FRUSTRATION IN DJENT-STYLE PROGRESSIVE METAL Patrick Nolan Sallings Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2021 APPROVED: Timothy Jackson, Major Professor Vivek Virani, Committee Member Paul Leenhouts, Committee Member Benjamin Brand, Chair of the Division of Music History, Theory, and Ethnomusicology Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Sallings, Patrick Nolan. Change, Longing, and Frustration in Djent-Style Progressive Metal. Doctor of Philosophy (Music), May 2021, 399 pp., 2 tables, 5 figures, 71 musical examples, 1 appendix, bibliography, 76 titles. The progressive metal style “djent” emerged in the mid-to-late 2000s with bands that modeled their use of extended range instruments and complex rhythmic cycles after that of Swedish metal band Meshuggah. The addition of a new vocabulary of melody and harmony by bands such as Periphery, Tesseract, and Animals as Leaders has come to define djent in a new way and provided fruitful ground for voice-leading and metrical analysis. In this dissertation, I approach analysis in two steps. The first step is the production of detailed transcriptions of four djent songs. The process of transcription has allowed for the development of Transcription Preference Rules, modeled after Lerdahl and Jackendoff’s preference rule approach in their generative theory of tonal music. The Transcription Preference Rules account for the selection of key signatures, time signatures, and other features of the scores that may affect analysis. Second, using these scores, I examine the connection between the textual topic of change and the voice-leading and metrical structures in Periphery’s “Insomnia” and Tesseract’s “Of Matter.” I show how this topic is reflected by techniques such as change melodic direction, multidimensional metrical dissonance, and auxiliary cadential events. -
STG Presents an Average of 600 Events Annually at the Paramount, the Moore, and the Neptune Theatres As Well As at Other Venues Throughout the Region
STG presents an average of 600 events annually at The Paramount, The Moore, and The Neptune Theatres as well as at other venues throughout the region. Broadway productions, concerts, comedy, lectures, education & community programs, film, and other enrichment programs can be found in our venues. Please see below for a chronological list of performances. ● THING - CANCELLED - - Fort Worden ● AIN'T TOO PROUD - CANCELLED - - The Paramount Theatre ● Black Pumas - POSTPONED - - The Paramount Theatre ● John Hiatt & The Jerry Douglas Band - POSTPONED - - The Moore Theatre ● DANCE This! Virtual Performance - August 13, 2021 - Online ● Pop-Up Mini Golf at the Paramount Theatre - August 12 - 15 - The Paramount Theatre ● Tiny Meat Gang - CANCELLED - - The Moore Theatre ● Tune-Yards - August 7, 2021 - The Neptune Theatre ● Palaye Royale - POSTPONED - - The Neptune Theatre ● Joe Russo's Almost Dead - CANCELLED - - The Paramount Theatre ● The Decemberists - CANCELLED - - The Paramount Theatre ● Up Next: Summer 2021 Series - July 24 - August 28, 2021 - Starbucks SODO Reserve ● The Masked Singer Live - CANCELLED - - The Paramount Theatre ● Jason Isbell and The 400 Unit - POSTPONED - - The Paramount Theatre ● IRC Residency - July 12, 2021 - Cascade View Elementary ● Girls Gotta Eat - POSTPONED - - The Moore Theatre ● More Music Songwriters Sessions 2021 - July 7, 2021 - Online ● STG Virtual AileyCamp 2021 - July 7 - August 4, 2021 - Online ● Pop-Up Donor Center with Bloodworks Northwest at The Paramount - July 6 - 9, 2021 - The Paramount Theatre ● Brit