DOCSLIB.ORG

Almanzapérezdiegomauricio2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Almanzapérezdiegomauricio2020 ANÁLISIS DE TRES COMPOSICIONES DEL BAJISTA JONAS HELLBORG BASADAS EN ELEMENTOS MUSICALES DEL SUR DE LA INDIA DIEGO MAURICIO ALMANZA PÉREZ Trabajo de grado Tutor JUAN CARLOS CASTILLO Modalidad MONOGRAFÍA UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES – ASAB PROYECTO CURRICULAR DE ARTES MUSICALES BOGOTÁ D.C. 2020 A la consciencia divina que lo hace todo posible. A mis padres, hermanas, sobrinos, amigos y maestros. Tabla de contenido 1. Planteamiento Del Problema ...................................................................................................... 2 1.1 Antecedentes ...................................................................................................................... 2 1.2 Justificación ......................................................................................................................... 3 1.3 Pregunta Problema ............................................................................................................. 4 1.4 Objetivos ............................................................................................................................. 4 1.4.1 Objetivo general .......................................................................................................... 4 1.4.2 Objetivos específicos ................................................................................................... 4 2. Metodología ................................................................................................................................ 4 3. Marco Referencial ....................................................................................................................... 6 3.1 Acercamiento Histórico A La Música De La India ................................................................ 7 3.1.1 Música Carnática ....................................................................................................... 15 3.1.2 Diferencias Entre Las Dos Corrientes, Carnática E Indostaní .................................... 18 3.2 Conexión Con La Música De Occidente ............................................................................. 20 3.2.1 En La Colonia Británica .............................................................................................. 20 3.2.2 Música De La India En El Pop Y El Rock ..................................................................... 21 3.2.3 La Música De La India En El Jazz ................................................................................ 24 3.3 Contextualización Bibliográfica Jonas Hellborg................................................................. 28 3.3.1 Intérpretes acompañates .......................................................................................... 36 4. Elementos Principales Que Caracterizan El Sistema De La Música Carnática ........................... 39 4.1 Conceptos Melódicos ........................................................................................................ 40 4.1.1 Shruti ......................................................................................................................... 40 4.1.2.1 Sarali Varisai. ......................................................................................................... 42 4.1.3 Gamaka ..................................................................................................................... 43 4.1.3.1 Jantai. .................................................................................................................... 44 4.1.3.2 Jaru. ....................................................................................................................... 44 4.1.3.3 Odukkal.................................................................................................................. 44 4.1.3.4 Orikai. .................................................................................................................... 44 4.1.3.5 Khandippu. ............................................................................................................ 44 4.1.3.6 Spurhitam. ............................................................................................................. 45 4.1.3.7 Kampita. ................................................................................................................ 45 4.1.4 Raga .......................................................................................................................... 46 4.1.4.1 Melakarta Ragas. ................................................................................................... 46 4.1.4.2 Janya Raga. ............................................................................................................ 48 4.2 Conceptos Rítmicos ........................................................................................................... 48 4.2.1 Tala ............................................................................................................................ 48 4.2.1.1 Notación. ............................................................................................................... 51 4.2.1.2 Kala. ....................................................................................................................... 52 4.2.2 Konnakol .................................................................................................................... 53 4.2.2.1 Time flow. .............................................................................................................. 55 4.2.2.2 Cálculo. .................................................................................................................. 56 4.2.2.3 Mora o Mohra. ...................................................................................................... 57 4.2.2.4 Korvai. .................................................................................................................... 59 4.3 Aspectos Formales ............................................................................................................ 60 5. Análisis ....................................................................................................................................... 62 5.1 Aspectos A Analizar ........................................................................................................... 62 5.2 Leal Souvenir ..................................................................................................................... 62 5.2.1 Forma ........................................................................................................................ 62 5.2.2 Ritmo ......................................................................................................................... 64 5.2.3 Melodía ..................................................................................................................... 68 5.3 Who Would You Like To Be? ............................................................................................. 72 5.3.1 Forma ........................................................................................................................ 72 5.3.2 Ritmo ......................................................................................................................... 73 5.3.3 Melodia ..................................................................................................................... 75 5.3.4 Armonía ..................................................................................................................... 77 5.4 Vehicle ............................................................................................................................... 78 5.4.1 Forma ........................................................................................................................ 78 5.4.2 Melodía ..................................................................................................................... 79 5.4.3 Armonía ..................................................................................................................... 83 5.4.4 Ritmo ......................................................................................................................... 86 6. Conclusiones.............................................................................................................................. 88 7. Glosario ..................................................................................................................................... 90 8. Bibliografía ................................................................................................................................ 91 9. Anexos ....................................................................................................................................... 93 Resumen Este documento tiene como propósito comprender la organización de los recursos extraídos de la música de la cultura de la India, como componentes estructurales, en composiciones que integran, también, géneros provenientes de la cultura occidental. El autor presenta un recuento acerca del desarrollo de la música desde la etapa temprana en la formación de esta cultura surasiática, e incluye un capítulo como puente cronológico que conecta los primeros contactos de la música de la India con occidente, llegando al trabajo discográfico de Jonas Hellborg. Es necesario un aprestamiento básico desde aspectos fundamentales de la música: forma, melodía y ritmo, por lo cual, gran parte de este trabajo está dedicado
Load more

Recommended publications
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • The Inner Light: the Beatles, India, Gurus, and the Legacy
    The Inner Light: The Beatles, India, Gurus, and the Legacy John Covach Institute for Popular Music, University of Rochester Arthur Satz Department of Music Eastman School of Music Main Points The Beatles’ “road to India” is mostly navigated by George Harrison John Lennon was also enthusiastic, Paul somewhat, Ringo not so much Harrison’s “road to India” can be divided into two kinds of influence: Musical influences—the actual sounds and structures of Indian music Philosophical and spiritual influences—elements that influence lyrics and lifestyle The musical influences begin in April 1965, become focused in fall 1966, and extend to mid 1968 The philosophical influences begin in late 1966 and continue through the rest of Harrison’s life Note: Harrison began using LSD in the spring of 1965 and discontinued in August 1967 Songs by other Beatles, Lennon especially, also reflect Indian influences The Three “Indian” songs of George Harrison “Love You To” recorded April 1966, released on Revolver, August 1966 “Within You Without You” recorded March, April 1967, released on Sgt Pepper, June 1967 “The Inner Light” recorded January, February 1968, released as b-side to “Lady Madonna,” March 1968 Three Aspects of “Indian” characteristics Use of some aspect of Indian philosophy or spirituality in the lyrics Use of Indian musical instruments Use of Indian musical features (rhythmic patterns, drone, texture, melodic elements) Musical Influences Ravi Shankar is principal influence on Harrison, though he does not enter the picture until mid 1966 April 1965: Beatles film restaurant scene for Help! Harrison falls in love with the sitar, buys one cheap Summer 1965: Beatles in LA hear about Shankar from McGuinn, Crosby (meet Elvis, discuss Yogananda) October 1965: “Norwegian Wood” recorded, released in December on Rubber Soul.
    [Show full text]
  • Measuring the Cultural Evolution of Music: with Case Studies of British-American and Japanese Folk, Art, and Popular Music
    Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Patrick Evan SAVAGE This is an English version of my Japanese Ph.D. dissertation (Ph.D. conferred on March 27, 2017). The final Japanese version of record was deposited in the Japanese National Diet Library in June 2017. #2314910 Ph.D. entrance year: 2014 2016 academic year Tokyo University of the Arts, Department of Musicology Ph.D. dissertation Supervisor： UEMURA Yukio Supervisory committee： TSUKAHARA Yasuko MARUI Atsushi Hugh DE FERRANTI i English abstract Student number： 2314910 Name： Patrick Evan SAVAGE Title： Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Darwin's theory of evolution provided striking explanatory power that has come to unify biology and has been successfully extended to various social sciences. In this dissertation, I demonstrate how cultural evolutionary theory may also hold promise for explaining diverse musical phenomena, using a series of quantitative case studies from a variety of cultures and genres to demonstrate general laws governing musical change. Chapter one describes previous research and debates regarding music and cultural evolution. Drawing on major advances in the scientific understanding of cultural evolution over the past three decades, I clarify persistent misconceptions about the roles of genes and progress in definitions of evolution, showing that neither is required or assumed. I go on to review older and recent literature relevant to musical evolution at a variety of levels, from Lomax's macroevolutionary interpretation of global patterns of song-style to microevolutionary mechanisms by which minute melodic variations give rise to large tune families.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • T of À1 Radio
    ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No.
    [Show full text]
  • THD Electronics, Ltd. Partial Customer List No Endorsement Is Implied
    THD Electronics, Ltd. Partial Customer List No endorsement is implied. Updated 5/7/03 Page 1 Eric Ambel (Steve Earle) John Fogerty (Credence Clearwater Revival) Pete Anderson (Dwight Yoakam, Blue Rodeo) Mark Ford (Black Crowes) Saleem Azam (Born Naked) Bill Frisell Rob Bailey (Anastacia, Echoboy, Cyndi Lauper, Roger Fisher (Heart) Lisa Lisa) Rory Gallagher Barenaked Ladies Brett Garsed (John Farnham, Nelson) Jim Basnight (The Moberlys, The Rockinghams, Billy Gibbons (ZZ Top) Sky Saxon) Don Gilmore (Tracy Bonham, Eve 6, Linkin Terry Blankenship (Robert Fripp) Park, Pearl Jam, The Rockinghams, Michael Blue Rodeo Shrieve, Sugar Ray, Sweet Water, X, Rob Tommy Bolin (Tommy Bolin Band) Zombie) Dan Bolton (Supersuckers) Stone Gossard (Pearl Jam, Mother Love Bone, Ross Bolton (Al Jarreau) Brad) Bruce Bouton (Asleep at the Wheel, Brooks & John Goux (Christina Aguilera, Randy Dunn, Garth Brooks, Neil Diamond, Newman, Dwight Yoakam) Emmylou Harris, Olivia Newton-John, Ricky Amy Grant Band Skaggs, LeAnn Rimes, Shania Twain, Keith Kirk Hammett (Metallica) Urban, and many other) Ben Harper Bob Boykin (Jeff Lorber) Ron Heathman (Supersuckers) Doyle Bramhall II (Arc Angels, Sheryl Crow, Hellecasters Double Trouble) Scott Henderson (Chick Corea, Jean-Luc Ponty, Peter Buck (R.E.M.) Tribal Tech, The Zawinul Syndicate) Tom Bukovac (Nelson, Keith Urban) Jimmy Herring (Aquarium Rescue Unit, Gov't Gary Burnette (John Tesh Band) Mule, Phil Lesh, Derek Trucks) Kevin Cadogan (Third Eye Blind) John Hiatt Vivian Campbell (Black Sabbath, Def Leppard, Dave Hole Dio,
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • Jonas Hellborg Featuring Trilok Gurtu
    Jonas Hellborg Adfa mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Adfa Country: Germany Released: 1989 Style: Acoustic, Jazz-Rock MP3 version RAR size: 1756 mb FLAC version RAR size: 1495 mb WMA version RAR size: 1106 mb Rating: 4.7 Votes: 488 Other Formats: DMF MP2 APE AAC AHX AAC AUD Tracklist Hide Credits Sweet Tooth A1 Bass [Fuzz Bass], Bass [Fretless], Bass [Midi], Keyboards – Jonas HellborgDrums – Jaime 2:35 SalazarGuitar, Soloist – Ulf Wakenius Sandman A2 Bass [Fuzz Bass], Acoustic Bass, Keyboards, Drum Programming – Jonas HellborgDrums – 5:48 Jaime SalazarGuitar – Ulf Wakenius Adfa A3 Bass [Midi], Bass, Keyboards, Drum Programming – Jonas HellborgDrums – Jaime 4:37 SalazarGuitar – Ulf Wakenius Major Minor Movement A4 Acoustic Bass, Bass [Midi], Bass, Keyboards – Jonas HellborgDrums – Jaime SalazarGuitar – 4:51 Robert Blennerhed Body Talk B1 Bass [Fuzz Bass], Bass, Bass [Midi], Keyboards – Jonas HellborgDrums – Trilok GurtuGuitar 4:34 – Robert Blennerhed Why Does It Happen? (Part 1) B2 3:00 Acoustic Bass, Bass [Midi] – Jonas HellborgTabla – Trilok Gurtu Why Does It Happen? (Part 2) B3 4:20 Bass, Keyboards – Jonas HellborgDrums – Trilok GurtuGuitar – Robert Blennerhed Signs B4 3:07 Bass, Bass [Midi] – Jonas HellborgDrums – Trilok GurtuGuitar – Robert Blennerhed Berlin B5 2:44 Bass – Jonas HellborgSounds [Original Sound Recording] – Kenneth Rasmusson Companies, etc. Record Company – Warner Communications Phonographic Copyright (p) – Jonas Hellborg Copyright (c) – Jonas Hellborg Phonographic Copyright (p) – TELDEC Record Service GmbH Copyright (c) – TELDEC Record Service GmbH Recorded At – Day Eight Studios Mixed At – Day Eight Studios Pressed By – Record Service GmbH Published By – Day Eight Music Publishing Credits Cover – Mats Bredberg Electric Bass [Wal / Electric Double Neck Midi Bass Guitar], Acoustic Bass [Abraham Wechter Acoustic Bass Guitar] – Jonas Hellborg Executive-Producer – Bo Hellborg Photography By [Back Cover] – S.
    [Show full text]
  • 21 Bab Ii Profil Dan Pengaruh George Harrison Di The
    BAB II PROFIL DAN PENGARUH GEORGE HARRISON DI THE BEATLES DAN KEBUDAYAAN INDIA Sebelum menjelaskan Perang Kemerdekaan Bangladesh tahun 1971, penulis akan menjelaskan profil dari George Harrison dan sepak terjangnya didalam The Beatles, pengaruhnya sebagai solois, dan pengaruh agama hindu juga kebudayaan india yang akan membawa konflik Bangladesh ke tingkat yang lebih tinggi dan mendapat perhatian dari berbagai negara, sebelum membahas lebih lanjut, penulis akan menjelaskan profil singkat dari George Harrison. A. Profil George Harrison George Harrison lahir di Liverpool pada 25 Februari 1943, George Harrison adalah anak dari Harold Hargreaves Harrison dan Louise Harrison, George Harrison adalah anak bungsu dari 4 bersaudara yaitu Louise, Harry dan Peter, ayahnya Harold adalah seorang Bus Conductor dan mantan pelayan di kapal Pesiar White Star Line, sedangkan ibunya adalah seorang pekerja disebuah toko milik orang Katolik keturunan Irlandia yang sangat patuh terhadap agama. Masa kecil George Harrison sangat penuh dengan musik,bakat musik George Harrison telah lama ditemukan oleh ibunya Louise, sejak keci George Harrison sangat suka bernyanyi dan hal itu didukung oleh ibunya Louise, hal ini dikemukakan oleh istri George Harrison dalam bukunya Wonderful Tonight: George Harrison , Eric Clapton and Me “All she wanted for her children is that they should be happy, and she recognized that nothing made George quite as happy as making 21 music”. 1 Louise ibu dari George Harrison menuturkan bahwa sejak dalam kandungan, George kerap kali disuguhkan
    [Show full text]
  • Best Sellers in Jazz Fusion ‹ MP3 Downloads 81
    Hello. Sign in to get personalized recommendations. New customer? Start here. Your Amazon.com | Today's Deals | Gifts & Wish Lists | Gift Cards Shop All Departments Search MP3 Downloads Amazon MP3 Store Music CDs New Releases Recommendations Advanced Search Browse Genres Best Sellers ‹ Any Category Best Sellers in Jazz Fusion ‹ MP3 Downloads 81. ‹ MP3 Albums Jazz Live at the Blue Note Tokyo Acid Jazz Soulive | Format: MP3 Download Avant Garde & Free (2) Jazz MP3 Download Bebop Available for download now Brazilian Jazz Price: $8.99 Compilations Cool Jazz Jazz Fusion 82. Latin Jazz Flight of Fancy Live Recordings X-Panda | Format: MP3 Download Modern Postbebop MP3 Download New Orleans Jazz Available for download now Smooth Jazz Price: $8.99 Soul-Jazz & Boogaloo Swing Jazz Traditional Jazz & Ragtime Vocal Jazz 83. Metal Brian Bromberg | Format: MP3 Download (6) Internet Explorer cannot display the webpageMP3 Download Available for download now Price: $8.91 What you can try: Diagnose Connection Problems 84. More information Masques Philippe Saisse | Format: MP3 Download (10) MP3 Download Available for download now Price: $9.49 85. Catching the Sun Spyro Gyra | Format: MP3 Download (11) MP3 Download Available for download now Price: $6.49 86. Jtb Jukka Tolonen Band | Format: MP3 Download MP3 Download Advertisement Available for download now Price: $8.99 87. Rebound Wayman Tisdale | Format: MP3 Download (35) MP3 Download Available for download now Price: $8.99 88. Lessons In Love The Marcus Johnson Project | Format: MP3 Download (4) MP3 Download Available for download now Price: $9.99 89. Abstract Logic Jonas Hellborg | Format: MP3 Download (9) MP3 Download Available for download now Price: $8.91 90.
    [Show full text]
  • Jonas Hellborg Till Uppsalagitarrfestival – Ersätter Mohini Dey
    2019-10-04 07:45 CEST Jonas Hellborg till Uppsalagitarrfestival – ersätter Mohini Dey Jonas Hellborg till uppsala gitarrfestival spelar med Freak Kitchen – ersätter Mohini Dey Svenske Jonas Hellborg tillhör basisternas världselit. Nu kommer han till Uppsala gitarrfestival och ersätter den indiska basisten Mohini Dey som tvingats lämna återbud i sista minuten på grund av sjukdom i familjen. Han medverkar vid Freak Kitchens konsert på torsdag den 10 oktober. – Uppsala i mitt hjärta, många gig på Rackis under flera decennier, nu på eminent gitarrfest med IA Eklundh och Björn, tiptop! säger Jonas Hellborg som medverkar på torsdag 10/10 med Freak Kitchen. – Det känns helt fantastisk att på så kort varsel kunna hitta ett så stort namn som ersättare för Mohini Dey, säger festivalchefen Klaus Pontvik. Jag trodde knapp att det var sant när han sa att han kunde komma. Det känns stort och jag är tacksam! 1978 inledde Jonas Hellborg, en då 20 årig svensk basist, sin unika karriär. Inspirerad av Keith Jarretts pianosolon och den brittiska basisten Colin Hodgkinsons uppfinningsrika användning av ackord på bas, utvecklade Hellborg sin egen teknik för elbas. Hans äventyrliga inställning ledde till ett framträdande på jazzfestivalen i Montreux, som i sin tur ledde till konstellationer med flera av dagens viktigaste fusionmusiker. Bland dem finns Michael Brecker, Michael Shrieve, Billy Cobham, Reebop Kwaku Baah, och inte minst John McLaughlin som anställde Hellborg för sin reformerade Mahavishnu Orchestra. 1979 släppte Hellborg sin första soloplatta, "The Bassic Thing", som följdes 1982 av "Elegant Punk". Ett album som fick upp öronen på producenten Bill Laswell. Det mynnade ut i flera inspelningsprojekt och en gemensam inspelningsstudio i Greenpoint, New York.
    [Show full text]
  • The Case for Rethinking Music Copyright Protection, 10 Mich
    Michigan Telecommunications and Technology Law Review Volume 10 | Issue 2 2004 Musical Musings: The aC se for Rethinking Music Copyright Protection J. Michael Keyes Gonzaga University School of Law Follow this and additional works at: http://repository.law.umich.edu/mttlr Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Legal History Commons Recommended Citation J. M. Keyes, Musical Musings: The Case for Rethinking Music Copyright Protection, 10 Mich. Telecomm. & Tech. L. Rev. 407 (2004). Available at: http://repository.law.umich.edu/mttlr/vol10/iss2/3 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Telecommunications and Technology Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. MUSICAL MUSINGS: THE CASE FOR RETHINKING MUSIC COPYRIGHT PROTECTION J. Michael Keyes* Cite as: J. Michael Keyes, Musical Musings: The Case for Rethinking Music Copyright Protection, 10 MICH. TELECOMM. TECH. L. REV. 407 (2004), availableat http://www.mttlr.org/volten/Keyes.pdf IN TRODUCTION ...................................................................................... 408 I. A HISTORICAL SKETCH OF MUSIC COPYRIGHT ........................ 410 A. The Nascent Years of Music Copyright, 1800-1850 .......... 410 B. The Music Industry Gains Steam, 1850-1900 ..................
    [Show full text]