Analyzing Radiohead (Oxford University Press, 2016)
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“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Ayden Graham Complete Song List 50S/60S/70S
ayden graham complete song list 50s/60s/70s 1. Nature Boy Eden Ahbez 2. Across The Universe The Beatles 3. All You Need Is Love The Beatles 4. Blackbird The Beatles 5. Dear Prudence The Beatles 6. Eleanor Rigby The Beatles 7. Hey Bulldog The Beatles 8. Michelle The Beatles 9. She Said, She Said The Beatles 10. Taxman The Beatles 11. Black Orpheus Luis Bonfa 12. Tonight Will Be Fine Leonard Cohen 13. All Along The Watchtower Bob Dylan 14. I Want You Bob Dylan 15. Mellow Yellow Donovan 16. Stand By Me Ben E. King 17. You Really Got Me The Kinks 18. Fever Peggy Lee 19. Could You Be Loved Bob Marley 20. One Harry Nilsson 21. Me and My Arrow Harry Nilsson 22. Moonshadow Cat Stevens 23. The Wind Cat Stevens 24. Wild World Cat Stevens 25. Ain't No Sunshine Bill Withers 26. Lovely Day Bill Withers 27. Use Me Bill Withers 28. Heart of Gold Neil Young 80s/90s/2000s 1. The Golden Age Beck 2. First Day of My Life Bright Eyes 3. Don't Panic Coldplay 4. In My Place Coldplay 5. Politik Coldplay 6. Yellow Coldplay 7. 9 Crimes Damien Rice 8. Amie Damien Rice 9. Cannonball Damien Rice 10. Cheers Darlin’ Damien Rice 11. Delicate Damien Rice 12. Elephant Damien Rice 13. The Blowers Daughter Damien Rice 14. The Animals Were Gone Damien Rice 15. Older Chests Damien Rice 16. Volcano Damien Rice 17. The General Dispatch 18. Any Day Now Elbow 19. Powder Blue Elbow 20. Lay Me Down Glen Hansard 21. -
Transnational Punk: the Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama Claremont Graduate University, [email protected]
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 3 | Issue 1 Article 9 2013 Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama Claremont Graduate University, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the Other Arts and Humanities Commons Recommended Citation Lalama, Alexander (2013) "Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 3: Iss. 1, Article 9. Available at: http://scholarship.claremont.edu/lux/vol3/iss1/9 Lalama: Transnational Punk Lalama 1 Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama, M.A. Claremont Graduate University School of Arts and Humanities Department of English Abstract Little media attention has been devoted to the burgeoning punk scene that has raised alarm abroad in areas such as Banda Aceh, Indonesia and Moscow, Russia. While the punk subculture has been analyzed in-depth by such notable theorists as Dick Hebdige and Stuart Hall, their work has been limited to examining the rise and apparent decline of the subculture in England, rendering any further investigations into punk as looking back at a nostalgic novelty of post- World War II British milieu. Furthermore, the commodification of punk music and style has relegated punk to the realm of an alternative culture in Britain and locally in the U.S. In these current international incarnations, however, a social space for this alternative culture is threatened by severe punishment including what Indonesian police officials have label “moral rehabilitation” and, in the case of Russian punks, imprisonment. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Hyperreality in Radiohead's the Bends, Ok Computer
HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________ -
Radiohead and the Philosophy of Music
1 Radiohead and the Philosophy of Music Edward Slowik There’s an old joke about a stranger who, upon failing to get any useful directions from a local resident, complains that the local “doesn’t know much.” The local replies, “yeah, but I ain’t lost”. Philosophers of music are kind of like that stranger. Music is an important part of most people’s lives, but they often don’t know much about it—even less about the philosophy that underlies music. Most people do know what music they like, however. They have no trouble picking and choosing their favorite bands or DJs (they aren’t lost). But they couldn’t begin to explain the musical forms and theory involved in that music, or, more importantly, why it is that music is so important to them (they can’t give directions). Exploring the evolution of Radiohead’s musical style and its unique character is a good place to start. Radiohead and Rock Music In trying to understand the nature of music, it might seem that focusing on rock music, as a category of popular music, is not a good choice. Specifically, rock music complicates matters because it brings into play lyrics, that is, a non-musical written text. This aspect of rock may draw people’s attention away from the music itself. (In fact, I bet you know many people who like a particular band or song based mainly on the lyrics—maybe these people should take up poetry instead!) That’s why most introductions to the philosophy of music deal exclusively with classical music, since classical music is often both more complex structurally and contains no lyrics, allowing the student to focus upon the purely musical structural components. -
Fictional Worlds and Characters in Art-Making: Fook Island As Exemplar for Art Practice
COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujcontent.uj.ac.za/vital/access/manager/Index?site_name=Research%20Output (Accessed: Date). Fictional worlds and characters in art-making: Fook Island as exemplar for art practice by Allen Walter Laing Dissertation submitted in partial fulfilment of the requirements for the degree Magister Technologiae: Fine Art In the Department of Visual Art Faculty of Art, Design and Architecture University of Johannesburg 8 October 2018 Supervisor: David Paton Co-supervisor: Prof. Brenda Schmahmann The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. Declaration I hereby declare that the dissertation, which I herewith submit for the research qualification Master of Technology: Fine Art to the University of Johannesburg is, apart from recognised assistance, my own work and has not previously been submitted by me to another institution to obtain a research diploma or degree. -
Ananda Devi's Narrative Strategies and Subversions. Ritu Tyagi Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Ananda Devi's Narrative Strategies and Subversions. Ritu Tyagi Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation Tyagi, Ritu, "Ananda Devi's Narrative Strategies and Subversions." (2009). LSU Doctoral Dissertations. 3561. https://digitalcommons.lsu.edu/gradschool_dissertations/3561 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ANANDA DEVI’S NARRATIVE STRATEGIES AND SUBVERSIONS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Philosophy in The Department of French Studies by Ritu Tyagi B.A., Jawaharlal Nehru University, 1999 M.A., University of California Irvine, 2003 May 2009 ©Copyright 2009 Ritu Tyagi All rights reserved ii ACKNOWLEDGEMENTS The completion of this dissertation and doctoral degree would not have been possible without the help and support of many individuals. I would like to express my profound gratitude to my dissertation director, Dr. Jack Yeager, for his stimulating suggestions and encouragement. His pleasant smile, optimism, and positivity helped me sail through the most frustrating and depressing moments. My thanks also go to the members of my committee for their support: Dr. -
Pink Floyd - Dark Side of the Moon Speak to Me Breathe on the Run Time the Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse
Pink Floyd - Dark Side of the Moon Speak to Me Breathe On the Run Time The Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse Pink Floyd – The Wall In the Flesh The Thin Ice Another Brick in the Wall (Part 1) The Happiest Days of our Lives Another Brick in the Wall (Part 2) Mother Goodbye Blue Sky Empty Spaces Young Lust Another Brick in the Wall (Part 3) Hey You Comfortably Numb Stop The Trial Run Like Hell Laser Queen Bicycle Race Don't Stop Me Now Another One Bites The Dust I Want To Break Free Under Pressure Killer Queen Bohemian Rhapsody Radio Gaga Princes Of The Universe The Show Must Go On 1 Laser Rush 2112 I. Overture II. The Temples of Syrinx III. Discovery IV. Presentation V. Oracle: The Dream VI. Soliloquy VII. Grand Finale A Passage to Bangkok The Twilight Zone Lessons Tears Something for Nothing Laser Radiohead Airbag The Bends You – DG High and Dry Packt like Sardine in a Crushd Tin Box Pyramid song Karma Police The National Anthem Paranoid Android Idioteque Laser Genesis Turn It On Again Invisible Touch Sledgehammer Tonight, Tonight, Tonight Land Of Confusion Mama Sussudio Follow You, Follow Me In The Air Tonight Abacab 2 Laser Zeppelin Song Remains the Same Over the Hills, and Far Away Good Times, Bad Times Immigrant Song No Quarter Black Dog Livin’, Lovin’ Maid Kashmir Stairway to Heaven Whole Lotta Love Rock - n - Roll Laser Green Day Welcome to Paradise She Longview Good Riddance Brainstew Jaded Minority Holiday BLVD of Broken Dreams American Idiot Laser U2 Where the Streets Have No Name I Will Follow Beautiful Day Sunday, Bloody Sunday October The Fly Mysterious Ways Pride (In the Name of Love) Zoo Station With or Without You Desire New Year’s Day 3 Laser Metallica For Whom the Bell Tolls Ain’t My Bitch One Fuel Nothing Else Matters Master of Puppets Unforgiven II Sad But True Enter Sandman Laser Beatles Magical Mystery Tour I Wanna Hold Your Hand Twist and Shout A Hard Day’s Night Nowhere Man Help! Yesterday Octopus’ Garden Revolution Sgt. -
The Most Depressive Songs of Radiohead
The most depressive songs of Radiohead 150 000 1 500 000 listeners at listeners at Last.fm Last.fm 15 Step Jigsaw Falling Into Place Feral Fitter Happier There, There Bodysnatchers Cheerful Backdrifts Separator Go To Sleep My Iron Lung Airbag Packt Like Sardines In a Crushed Tin Box Burn the Witch Sulk House Of Cards Lotus Flower Little By Little Optimistic Myxomatosis A Punch Up At a Wedding Anyone Can Play Guitar Idioteque Sit Down. Stand Up I Might Be Wrong In Limbo Where I End and You Begin Bones Thinking About You Morning Mr Magpie Vegetable Morning Bell Lurgee (Nice Dream) The National Anthem Just 2 + 2 = 5 High And Dry Identikit Subterranean A Wolf At the Door Present Tense Homesick Alien Electioneering Bloom The Bends Karma Police You Blow Out Stop Whispering Black Star Prove Yourself Planet Telex I Can't How Do You? Decks Dark Ripcord Scatterbrain Climbing Up the Walls Morning Bell/Amnesiac Faust Arp Reckoner How To Disappear Paranoid Android Like Spinning Plates Lucky Completely Weird Fishes/ Arpeggi Knives Out Ful Stop Exit Music (For a Film) I Will Kid A Nude Give Up The Ghost Pulk/Pull Revolving Desert Island Disk Street Spirit (Fade Out) Let Down Doors Fake Plastic Trees No Surprises You And Whose Army? The Gloaming Daydreaming Depressing Creep Dollars & Cents All I Need Tinker Tailor Soldier Bullet Proof ... I Wish I Sailor Rich Man Poor Hunting Bears Was Treefingers Man Beggar Man Thief Pyramid Song Codex Everything In Its Right Glass Eyes Life In a Glasshouse Sail To The Moon Videotape The Tourist Place The Numbers Motion Picture We Suck Young Blood True Love Waits Soundtrack Hail To the The King Of A Moon Pablo Honey The Bends OK Computer Kid A Amnesiac In Rainbows Thief Limbs Shaped Pool Data source: https://data.world/rcharlie/gloom-index-of-radiohead-songs. -
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others. -
Prism Vol 5 No 3.Pdf
PRISM VOL. 5, NO. 3 2015 A JOURNAL OF THE CENTER FOR COMPLEX OPERATIONS PRISM About VOL. 5, NO. 3 2015 PRISM is published by the Center for Complex Operations. PRISM is a security studies journal chartered to inform members of U.S. Federal agencies, allies, and other partners on complex EDITOR and integrated national security operations; reconstruction and state-building; relevant policy Michael Miklaucic and strategy; lessons learned; and developments in training and education to transform America’s security and development EDITORIAL ASSISTANTS Connor Christenson Talley Lattimore Jeffrey Listerman Communications Giorgio Rajao Constructive comments and contributions are important to us. Direct Hiram Reynolds communications to: COPY EDITORS Editor, PRISM Dale Erickson 260 Fifth Avenue (Building 64, Room 3605) Rebecca Harper Fort Lesley J. McNair Christoff Luehrs Washington, DC 20319 Nathan White Telephone: (202) 685-3442 DESIGN DIRecTOR FAX: Carib Mendez (202) 685-3581 Email: [email protected] ADVISORY BOARD Dr. Gordon Adams Dr. Pauline H. Baker Ambassador Rick Barton Contributions Professor Alain Bauer PRISM welcomes submission of scholarly, independent research from security policymakers Dr. Joseph J. Collins (ex officio) and shapers, security analysts, academic specialists, and civilians from the United States and Ambassador James F. Dobbins abroad. Submit articles for consideration to the address above or by email to [email protected] Ambassador John E. Herbst (ex officio) with “Attention Submissions Editor” in the subject line. Dr. David Kilcullen Ambassador Jacques Paul Klein Dr. Roger B. Myerson This is the authoritative, official U.S. Department of Defense edition of PRISM. Dr. Moisés Naím Any copyrighted portions of this journal may not be reproduced or extracted MG William L.