Dwayne Dopsie and the Zydeco Hellraisers ACCLIMATIONS LUCY
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Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers. -
Talking Heads from Wikipedia, the Free Encyclopedia
Talking Heads From Wikipedia, the free encyclopedia Background information Origin New York City, New York, United States Genres New wave · post-punk · art pop · funk rock · worldbeat Years active 1975–1991 Labels Sire/Warner Bros., EMI Associated acts Tom Tom Club, The Modern Lovers, Brian Eno Past members David Byrne Chris Frantz Tina Weymouth Jerry Harrison Talking Heads were an American rock band formed in 1975 in New York City and active until 1991. The band comprised David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass) and Jerry Harrison (keyboards, guitar). Other musicians also regularly made appearances in concert and on the group's albums. The new wave style of Talking Heads combined elements of punk, art rock, funk, avant-garde, dance, pop, and world music with the neurotic, whimsical stage persona of frontman and songwriter David Byrne. The band made use of various performance and multimedia projects throughout its career. Critic Stephen Thomas Erlewine described Talking Heads as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone's list of the 500 Greatest Albums of All Time and three of their songs ("Psycho Killer", "Life During Wartime", and "Once in a Lifetime") were included among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Talking Heads were also included at #64 on VH1's list of the "100 Greatest Artists of All Time", placed among Rolling Stone 's similar list as well. -
The Philosophical Fiber Rethinking Ensemble Conducting in Light of a Record Producer’S Practice
Original Article | Vol. 1, No. 1, 2020, pp. 167–187 | ISSN: 2703-8041 The philosophical fiber Rethinking ensemble conducting in light of a record producer’s practice Ola Buan Øien Affiliation: Nord University, Norway Contact corresponding author: [email protected] Abstract The overall aim of this single case study is to find aspects of musical leadership relevant to ensemble conducting, using the theory of practice architectures to analyze a record producer’s practice. Data generation is performed mainly through transcripts and reflection logs based on YouTube interviews and videos. Insights into ensemble conducting are offered by exploring the following question: “What aspects of musical leadership relevant to conducting can be identified by applying the theory of practice architectures to an analysis of record producer Daniel Lanois’s practice?” The materials are analyzed based on three contexts of interpretation of meaning in hermeneutics. The theory of practice architectures serves as the analytical lens for the third context of interpretation. Main findings from this study are extracted into nine concepts that may serve as aspects of musical leadership relevant to conducting: a fast communication system, a self- adjusting act, black dubs, locations, operating by limitation, master station, the philosophical fiber, preparing, and sonic ambience. These and similar concepts may offer new insights into ensemble conducting in contexts similar to recording situations. Keywords: musical leadership, ensemble conducting, record producer, practice architectures, musical concepts Introduction Background and previous research This study is designed to discover aspects of musical leadership relevant to ensemble conducting, using the theory of practice architectures (Kemmis et al., 2014, p. -
What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians Gabriel J
Vanderbilt Law Review Volume 61 | Issue 4 Article 4 5-2008 What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians Gabriel J. Fleet Follow this and additional works at: https://scholarship.law.vanderbilt.edu/vlr Part of the Intellectual Property Law Commons Recommended Citation Gabriel J. Fleet, What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians, 61 Vanderbilt Law Review 1235 (2019) Available at: https://scholarship.law.vanderbilt.edu/vlr/vol61/iss4/4 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law Review by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. NOTES What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians 1. INTRODU CTION ................................................................... 1236 II. LEGAL BACKGROUND .......................................................... 1240 A. Distinct Copyrights for Musical Compositions and Sound Recordings..................... 1241 B. Copyright Infringement .......................................... 1242 C. Joint A uthorship..................................................... 1246 III. POPULAR MUSIC COMPOSITION AND PRODUCTION N ORM S .......................................................... 1250 A. M usic Composition Today ...................................... 1251 B. The Role of the Record Producer ............................ 1256 -
"A Kind of Construction in Light and Shade": an Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 "A Kind of Construction in Light and Shade": An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin Aaron Liu-Rosenbaum The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3688 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “A Kind of Construction in Light and Shade”: An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin” by Aaron Liu-Rosenbaum A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, the City University of New York 2009 ii © 2009 AARON LIU-ROSENBAUM All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirements for the degree of Doctor of Philosophy. _David Olan_________________ _______________________ ___________________________ Date Chair of Examining Committee _David Olan_________________ _______________________ ___________________________ Date Executive Officer Professor Shaugn O’Donnell__________________________ Professor Mark Spicer_______________________________ Professor Jonathan Pieslak___________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract “A Kind of Construction in Light and Shade”: An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin” by Aaron Liu-Rosenbaum Advisor: Shaugn O’Donnell This dissertation examines how the sound of a recording contributes meaning to the song, working in conjunction with the song’s lyrics, harmonic and rhythmic structures, album artwork, and within its cultural context. -
How the Democratization of Music Changed the Industry
Salem State University Digital Commons at Salem State University Honors Theses Student Scholarship 2020-05-01 How the Democratization of Music Changed the Industry Ryan Feyre Follow this and additional works at: https://digitalcommons.salemstate.edu/honors_theses Part of the Communication Technology and New Media Commons Recommended Citation Feyre, Ryan, "How the Democratization of Music Changed the Industry" (2020). Honors Theses. 290. https://digitalcommons.salemstate.edu/honors_theses/290 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons at Salem State University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons at Salem State University. HOW THE DEMOCRATIZATION OF MUSIC CHANGED THE INDUSTRY Honors Thesis In the Department of Media & Communications at Salem State University By Ryan Feyre Dr. Peter Kvetko Faculty Advisor Department of Music and Dance *** Commonwealth Honors Program Salem State University 2020 i Abstract The music industry has witnessed a rise in democracy in the 21st century, both in terms of how artists write and record their content, and how we as listeners consume it. The growing affordability of music technology over the past ten years has allowed artists to work in the confines of their own homes. Many musicians are now granted the opportunity to build their own fanbase without the help of a label, mainly through music chat channels. As a result, consumers acquire music from a variety of places (Limewire, Napster, and now, Spotify). Corporations have now seemingly convinced customers that Spotify is the best place for acquiring any music one could want. -
Deconstructing Why, As the Modern Music Industry Takes, Musicians Continue to Make
Chicago-Kent Journal of Intellectual Property Volume 16 Issue 2 Article 7 6-21-2017 When Copyright is Not Enough: Deconstructing Why, as the Modern Music Industry Takes, Musicians Continue to Make Glenton Davis Follow this and additional works at: https://scholarship.kentlaw.iit.edu/ckjip Part of the Intellectual Property Law Commons Recommended Citation Glenton Davis, When Copyright is Not Enough: Deconstructing Why, as the Modern Music Industry Takes, Musicians Continue to Make, 16 Chi. -Kent J. Intell. Prop. 373 (2017). Available at: https://scholarship.kentlaw.iit.edu/ckjip/vol16/iss2/7 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Journal of Intellectual Property by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. WHEN COPYRIGHT IS NOT ENOUGH: DECONSTRUCTING WHY, AS THE MODERN MUSIC INDUSTRY TAKES, MUSICIANS CONTINUE TO MAKE GLENTON DAVIS INTRODUCTION ................................................................................. 374 I. THE MODERN MUSIC INDUSTRY ................................................... 376 II. UNDERSTANDING MUSICIANS ...................................................... 381 III. INSIDE THE MIND OF THE MUSICIAN .......................................... 384 A. Incentive Theories: Managing Incentives in a “Winner- Take-All” Economy ....................................................... -
LOUISIANA Booklet
D EEP R IVER OF S ONG D EEP R IVER OF S ONG Louisiana Barrelhouse, Creole and Work Songs ROUNDER CD 0000 p © 2003 Rounder Records Corp., One Camp Street, Cambridge, Massachusetts 02140 USA. ROUNDER is a registered trademark of Rounder Records Corp. http://www.rounder.com email: [email protected] www.alan-lomax.com INTRODUCTION — John Cowley, Ph.D. (French) people of southern Louisiana, in that section known as the Evangeline country. These people yet invite John A. and Alan Lomax began collecting folk music groups of French singers to be present at weddings to using a cylinder machine, the earliest audio recording sing folk songs for the entertainment of guests, the technology employed by field researchers. They set out in singing being prolonged often until a late hour. Drinking 1933, traveling through Texas, Louisiana, Tennessee, and and singing always go together, the songs being passed Virginia and it was in Baton Rouge, Louisiana, on July 15, along by “word of mouth” instead of by the printed page. 1933, that they first switched to the newly- We made records of many of these songs, some of which manufactured portable aluminum disc apparatus. The we believe show undoubted evidence of indigenous ori- remainder of their 1933 recordings were made using this gin, though others are carry-overs from French sources. novel mechanism. In any event, the changes that have taken place in the process of oral transmission through generations should The 1933 Louisiana sessions date from a visit to the furnish matter of interest to scholars. It seems important Louisiana State Penitentiary at Angola (July 16–20) and to put into permanent form the actual singing of these constitute a simple snapshot of Louisiana’s black music songs while the rural life of that section of Louisiana repertoire. -
Broadcast Localism ) MB Docket No. 04-233 ) )
Before the FEDERAL COMMUNICAnONS COMMISSION Washington, DC 20054 In the Matter of: ) ) Broadcast Localism ) MB Docket No. 04-233 ) ) COMMENTS OF THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. The National Academy of Recording Arts & Sciences, Inc. ("Recording Academy"), hereby submits its comments on the notice ofinquiry in the above-captioned proceeding.! INTRODUCTION The Recording Academy is an organization comprised ofmusicians, producers, engineers and other recording professionals who are dedicated to improving the cultural condition and quality of life for music and those who create music. The Recording Academy is most well- known for its sponsorship of the GRAMMY Awards which each year acknowledge and honor artistic achievement, proficiency and overall excellence in music, without regard to album sales or chart position. In addition to presenting the GRAMMY Awards, the Recording Academy's mission includes education and advocacy on critical public policy issues affecting the musical community through its GRAMMY Cultural Policy Initiative, which advances the rights of the music community through advocacy, education, and dialogue. The impact of broadcast consolidation on broadcast localism in general, and on local decision-making regarding music entertainment programming in particular, is one ofthe most critical public policy issues affecting the Recording Academy and its members. I In the Matter of Broadcast Localism (Notice ofInquiry), FCC 04-129, released July 1, 2004 ("NOI" or "Notice"). By Order issued August 4, 2004 (DA 04-2457), the deadline for initial comments was established as November 1, 2004. Broadcast radio long has been an important source for the presentation of music and musical talent as well as a source for local expression and presentation of local talent. -
Remain in Light”--Talking Heads (1980) Added to the National Registry: 2016 Essay by Kevin Buck (Guest Post)*
“Remain in Light”--Talking Heads (1980) Added to the National Registry: 2016 Essay by Kevin Buck (guest post)* Album cover Photo by Jean-Luc1 Talking Heads formed in the mid-70s merging punk, rock and funk to lead the way in the New Wave2 music genre. By 1980, they had three successful albums under their belt, but they believed that they had fallen into a rut and felt the need to shake off the mantle of so-called “New Wave.” The band’s music had centered on the writing and performance of front man David Byrne and all the band members, including Byrne, felt it was time for a change. Byrne, drummer Chris Frantz, bassist Tina Weymouth and keyboardist Jerry Harrison converged on the Bahamas in early 1980 with no set material to record. The resulting instrumental jams, based on looping Afrobeat rhythms (pioneered by Fela Kuti), were intended as a blending of music genres from around the world rather than just an imitation. The results of these jams were played to Brian Eno, producer of their two previous albums, who felt the band was onto something different and special. Several other musicians were included in the subsequent recording sessions including trumpet player Jon Hassell, guitarist Adrian Belew, singer Nona Hendryx and Robert Palmer on guitar as well as percussion. The recording process for the base instrumental tracks utilized long, overlapping loops of repetitive rhythms long before studio tools could support the process of what we refer to today as sampling. Once the core instrumental tracks were laid down, the band returned to the states. -
The Rise of the Smooth Jazz Format: an Exploratory Study of Kenny G and His Gang of Smooth Operators
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2012 The Rise Of The Smooth Jazz Format: An Exploratory Study Of Kenny G And His Gang Of Smooth Operators William Arden Mader University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mader, William Arden, "The Rise Of The Smooth Jazz Format: An Exploratory Study Of Kenny G And His Gang Of Smooth Operators" (2012). Electronic Theses and Dissertations, 2004-2019. 2150. https://stars.library.ucf.edu/etd/2150 THE RISE OF THE SMOOTH JAZZ FORMAT: AN EXPLORATORY STUDY OF KENNY G AND HIS GANG OF SMOOTH OPERATORS by WILLIAM ARDEN MADER III M.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2012 © 2012 WILLIAM ARDEN MADER III ii ABSTRACT The purpose of this study is to explore the development and rise of the smooth jazz radio format. It is an exploratory study which aims to illustrate the confluence of forces that contributed to the immense success of the smooth jazz genre through the 1980s and well into the 1990s. -
The Case of Reissue Record Labels in the USA
International Review of Social Research 2015; 5(2): 102–112 Research Article Open Access Andrew Bowsher* Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA DOI 10.1515/irsr-2015-0009 performance. These independent retail environments Received: December 1, 2014; Accepted: February 15, 2015 cater for a variety of consumers constructing and sharing Abstract: This article examines the cultural practice of fields of knowledge and capital in opposition to the effecting an independent marketplace for reissued music mainstream, thereby effecting scenes (cf. Straw, 1991) in the United States, based on ethnographic fieldwork that define themselves through their marketplaces. in Austin, Texas with independent record labels and I interrogate the conflicts between the quest for consumers. As the music industry is not a homogenous authenticity (by both producers and consumers) and the entity (Williamson and Cloonan, 2007), I argue that the realities of the marketplace (commodification, capitalism practice of legitimising an independent marketplace and monetary transaction) as a means to uncover how requires the formulation of a ‘mainstream’ market to independence and commerce cohabit in an independent which the independent is opposed, and the erecting music marketplace for reissued recordings in the USA. It of marketplace myths (Arsel and Thompson, 2010) to is argued that actors position themselves relative to the substantiate the independent marketplace’s claims mainstream, and utilise several legitimising strategies to differ from the mainstream. Legitimising strategies (Strachan, 2007) in order to safeguard their investments (Strachan, 2007) protect the investments made by in the independent marketplace (Arsel and Thompson, producers and consumers of goods in their marketplace.