The Carroll News- Vol. 81, No. 11
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Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos
Tab.3a - Classifica canzoni Genesis/Ranking Genesis songs Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti Pos. Canzoni/Songs Genesis Voti 1 Supper's ready 95 25 Fly on a windshield 9 32 Dusk 2 2 The Musical box 92 White mountain 9 Many too many 2 3 Firth of fifth 90 26 Timetable 8 In that quiet earth 2 4 The cinema show 80 27 The chamber of 32 doors 7 Tonight tonight tonight 2 5 The lamia 44 The colony of slippermen 7 A trick of the tail 2 6 Watcher of the skies 42 28 Robbery assault and battery 6 Silver rainbow 2 7 The Carpet crawlers 38 Calling all stations 6 Dreaming while you sleep 2 8 Can Utility and the coastliners 37 Driving the last spike 6 The waiting room 2 9 Dancing with the moonlit Knight 36 Uncertain weather 6 Second home by the sea 2 10 One for the vine 35 All in a mouse's night 6 After the ordeal 2 11 The fountain of Salmacis 32 29 Undertow 5 Horizons 2 12 Mad man moon 30 Abacab 5 33 More fool me 1 13 Entangled 25 Hairless heart 5 It's gonna get better 1 14 Blood on the rooftops 24 Home by the sea 5 Alien afternoon 1 15 The knife 23 Back in NYC 5 Man of our times 1 16 Ripples 22 Visions of angels 5 Land of confusion 1 In the cage 22 Domino 5 Alone tonight 1 17 Seven stones 21 30 I know what I like 4 In the beginning 1 Los endos 21 Duchess 4 Congo 1 18 Dance on a volcano 18 Down and out 4 Shipwrecked 1 Stagnation 18 Squonk 4 The dividing line 1 Duke's travel 18 Turn it on again 4 Your own special way 1 19 Afterglow 17 Me and Sarah Jane 4 If that's what you need 1 20 Looking for someone 15 Evidence of autumn -
Plunderphonics – Plagiarismus in Der Musik
Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2]. -
PROGRESSIVE ROCK ELEMENTS in the POP-ROCK MUSIC of GENESIS, 1978-91 by Michael Paul Koss
From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91 Item Type Electronic Dissertation; text Authors Koss, Michael Paul Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 22:27:18 Link to Item http://hdl.handle.net/10150/145489 FROM PROG TO POP: PROGRESSIVE ROCK ELEMENTS IN THE POP-ROCK MUSIC OF GENESIS, 1978-91 by Michael Paul Koss _____________________________________ Copyright © Michael P. Koss 2011 A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Michael Koss entitled From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91 and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________ Date: April 11, 2011 Donald G. Traut ________________________________________________ Date: April 11, 2011 Pamela Decker ________________________________________________ Date: April 11, 2011 Kelland Thomas Final approval and acceptance of this dissertation is contingent upon the candidate‘s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. -
Copyrighted Material
c01.qxd 11/20/04 3:39 PM Page 11 PART ONE Art and Culture: Use Only as Directed Copyright and trademark law is an important tool in incubating new cre- ativity and building a culture. By giving creators a property right in their works, the law stimulates the development of all sorts of new works. What is not appreciated as much is how overly broad copyright and trademark laws can sabotage creative production. Artists necessarily must draw upon works of the past.They also must be able to modify and trans- form prior works and collaborate and share with fellow artists. Since copyrights and trademarks are essentially monopoly rights, the question thus becomes: How far should intellectual property protection extend? What is the proper balance? As the stories of Part One illustrate, the intended balance of copyright and trademark law has gotten seriously out of whack. The chief propo- nents of broader, longer, and stricter forms of protection are the various “content industries” that produce music, film, photographs, literature, journalism, and entertainment. They like broad legal protection for their works because it makes those works more valuable. Owning the copy- right on, say, a Beatles tune for an extra twenty years could easily be worth a fortune. Broader protection also privileges commodified works over “nonmarket”COPYRIGHTED creativity such as folk traditions,MATERIAL public dialogue, art, scholarship, and the works of online communities. It is a complicated business drawing the lines of protection properly. But the following stories show that appropriate limits for copyright and trademark protection have been transgressed time and again. -
An Artist's Exploration of Sound
Remembering How to Forget: An Artist’s Exploration of Sound Scanner ABSTRACT This article is an introduction to the work of electronic sound artist Scanner, which explores the place of memory, the cityscape and the relationship between the public and the private within con- Manipulation or reorganisation of pre-recorded images and Having the technology to peel temporary sound art. Beginning with a historical look at his CD re- sounds is like the process of thinking. Thus editing becomes the open virtually any zone of infor- leases a decade ago, the article superimposition of consciousness or the intelligent structuring mation and consume the con- explores his move from his cellu- of this recorded experience. tents, I used the scanner device lar phone works to his more col- itself—a modestly sophisticated laborative digital projects in re- —Bill Viola cent times. With descriptions of radio receiver—to explore the re- several significant performance lationship between the public My work explores the relationship between sound and archi- works, public art commissions and private spheres. Working and film soundtrack work, the tectural space and the spaces in between information, places, with sound in this manner sug- piece explores the resonances history and relationships, where one has to fill in the missing gested a means of mapping the and meanings with the ever-chang- parts to complete the picture. In the modern recording stu- ing digital landscape of a contem- city, in which the scanner device dio, digital technology has allowed us to search beneath the porary sound artist. provided an anonymous window surface of sound and its image through the application of into reality, cutting and pasting software that visualizes a vibration, a note. -
Resounding the Voice
RESOUNDING THE VOICE On repurposing the archival material of voice, from analogue to digital. By Olivia Louvel-Kendall MA Thesis Submitted in partial fulfilment of the requirements for Master Degree to Digital Music & Sound Arts Programme School of Media University of Brighton 14 September 2020 0 Table of Contents INTRODUCTION 2 1. SOUND. Sounding the voice. 3 1.1 The voice captured 3 1.2 Stored, archived and digitised 4 1.3 The voice unearthed 6 2. RESOUND. Resounding the archival voice. 7 2.1 How did archival documents morph into aesthetic principles? 7 2.2 Christian Zanési: Arkheion, an existential excavation site 11 a) Archives and transmission 11 b) Musique concrète: recuperation and détournement 12 c) The fragmented voices of Pierre Schaeffer 13 d) Liberation from authorship 14 e) Zanési and the studio: an existential excavation site 14 2.3 Wajid Yaseen: Tape Letters, the resounding as social sculpture 16 a) Migration on tape 16 b) Sonic mise en scène and re-enactment 17 c) The sonic writing of language, a social sculpture 20 2.4 Olivia Louvel: The Sculptor Speaks, direct carving 23 a) Direct carving and temporal linearity 23 b) The resounding, a transformative-tool 24 c) Transmission of signal, transmission of heritage 25 2.5 Resounding, terminology and use 26 2.6 Resounding the archival voice. Other strategies 28 a) Détournement 28 b) The archival voice is the message 28 c) Documenting strategy 29 3. CONCLUSION 30 4. BIBLIOGRAPHY 32 5. LIST OF WORKS 39 6. LIST OF FIGURES 40 7. APPENDIX 41 Appendix I 41 Appendix II 54 1 INTRODUCTION “Music is the art of the hope for resonance: a sense that does not make sense except because of its resounding in itself.”1 Resound - from Latin resonare - is to ‘sound again’, it is a sound loud enough to reverberate or a place to be filled with a sound. -
Finding Aid for the Robert Sobieszek Archive, 1836-2005
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Robert Sobieszek Archive, 1836-2005 AG 232 Finding aid created by Lenox Wiese, October 2016 AG 232: Robert Sobieszek Archive - page 2 Robert Sobieszek Archive, bulk 1836-2005 AG 232 Creator Sobieszek, Robert A., 1943-2005 Abstract Papers and materials, 1836-2005, collected and created by Robert A. Sobieszek (1943- 2005) are associated with his career as curator of photography at George Eastman House and LACMA. The entire collection spans 76.6 linear feet, the bulk of which includes research materials, publications, and writings related to Sobieszek’s major book and exhibition projects, specifically focused on his work associated with William S. Burroughs, Ghost in the Shell: Photography and the Human Soul, 1850-2000, and 19th C. Photography. The collection also includes Sobieszek’s teaching and lecture files as well as minimal amounts of biographical material. Quantity/ Extent 76.6 linear feet Language of Materials English and French Biographical Note Robert Sobieszek (1943-2005) was a diligent scholar, an active writer and lecturer, and a revered curator of photography. He began his career in 1968, working as a curatorial assistant at George Eastman House in New York after receiving a bachelor’s degree in fine arts from the University of Illinois in 1965. Sobieszek went on to earn a master’s degree in art history from Stanford University in 1969 and later, a master’s degree in philosophy from Columbia University in 1981. -
University News, January 18 Students of Boise State University
Boise State University ScholarWorks Student Newspapers (UP 4.15) University Documents 1-18-1988 University News, January 18 Students of Boise State University Although this file was scanned from the highest-quality microfilm held by Boise State University, it reveals the limitations of the source microfilm. It is possible to perform a text search of much of this material; however, there are sections where the source microfilm was too faint or unreadable to allow for text scanning. For assistance with this collection of student newspapers, please contact Special Collections and Archives at [email protected]. I" rl r----'---------~-----'--..::...---------------~~-.....:..'''':'__••-._••.•.---,••-.--iii''j j Keiser stresses new bulldinqs, programs ; by Steve F, 4'00 grams will be unopened, portions Health Science in conjunction public affairs facility. The University News of existing programs will.collapse, with the School of Social Sciences' "A new structure, if that is the citizens will go unserved, and and Public Affairs. solution, would be located im- Making the case that BSU re- economic development will be en- "That graduate education at mediately cast of the Library." mains, inequitably funded, BSU dangered," he said in the Jan. II the Master's level is imp-ortant to Currently, he said, the schoolis President John Keiser delivered speech. our service area is indicated by the scattered among several buildings. the State of the University ad- Long-term plans for the univer- relatively large number of There also are plans to locate dress, stressing that the legislature sity, Keiser said, include each of Master's degrees earned at this in- a health science college within an must come through with funding the schools' and colleges' plans stitution when compared to the enclosed stadium facility. -
Songs by Title
Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No. -
Genesis We Can't Dance Mp3, Flac, Wma
Genesis We Can't Dance mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: We Can't Dance Country: Spain Released: 1991 Style: Pop Rock, Synth-pop MP3 version RAR size: 1554 mb FLAC version RAR size: 1458 mb WMA version RAR size: 1636 mb Rating: 4.6 Votes: 744 Other Formats: MP1 MIDI FLAC TTA VQF MPC RA Tracklist 1 No Son Of Mine 6:40 2 Jesus He Knows Me 4:16 3 Driving The Last Spike 10:08 4 I Can't Dance 4:01 5 Never A Time 3:50 6 Dreaming While You Sleep 7:16 7 Tell Me Why 4:59 8 Living Forever 5:41 9 Hold On My Heart 4:38 10 Way Of The World 5:39 11 Since I Lost You 4:09 12 Fading Lights 10:27 Companies, etc. Phonographic Copyright (p) – Anthony Banks Ltd. Phonographic Copyright (p) – Philip Collins Ltd. Phonographic Copyright (p) – Michael Rutherford Ltd. Copyright (c) – Anthony Banks Ltd. Copyright (c) – Philip Collins Ltd. Copyright (c) – Michael Rutherford Ltd. Licensed To – Virgin Records Ltd. Marketed By – EMI Distributed By – EMI Manufactured By – Optimal Media GmbH – AB57417 Published By – Anthony Banks Ltd. Published By – Philip Collins Ltd. Published By – Michael Rutherford Ltd. Published By – Hit & Run Music (Publishing) Ltd. Published By – EMI Music Publishing Ltd. Recorded At – The Farm Mixed At – The Farm Remastered At – Metropolis Mastering Credits Coordinator – Carol Willis Design, Art Direction – Icon Engineer [Assistant] – Mark Robinson Engineer, Remix [Stereo Mixes] – Nick Davis Illustration – Felicity Roma Bowers Management – Tony Smith Photography By – David Sheinmann* Producer – Genesis, Nick Davis Remastered By – Tony Cousins Remix [Assistant] – Tom Mitchell Sleeve [Adaption] – Chris Peyton Written-By – Mike Rutherford, Phil Collins, Tony Banks Notes Repress of We Can't Dance. -
The Carroll News- Vol. 74, No. 19
John Carroll University Carroll Collected The aC rroll News Student 3-17-1988 The aC rroll News- Vol. 74, No. 19 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 74, No. 19" (1988). The Carroll News. 915. http://collected.jcu.edu/carrollnews/915 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Holiday re velers Smashing success shouldn't ignore the political strife in 'The Foreigner' brings laughs, cures Ireland, says Shiela Ge.vy. appy S . Patrick,s ay winter blues. Play review. FORUMP. 3 ENTERTAINMENT P. 6 THE CARROLL NEWS d I~ Serving The Carroll Community Vol. 74, No. 20 John Carroll University, University Height------------------------------s, Ohio 44118 Thurs--day,---------- March 17, 1988---- Lavelle tours Asian universities A sian studies by Tim Forrestal, faculty exchanges with the United States. Staff Reporter ·'China is interested in joining the takes off The next president of John Carroll Univer mainstream of higher education," said Pecek. John Canolrs Japanese/East Asian sity, Rev. Michael J. Lavelle, S.J., is currently StudieS progam will o:hift IntO lull gear Lavelle and his fellow Jesuits are on a tight next fall visiting China with eight other presidents of schedule so as to observe as much as possi Jesuit colleges and universities. Lavelle is For the first lime. -
Personality FOLIOS and Dvds
personalityFOLIOS and DVDs 6 PERSONALITY FOLIOS & DVDS Alfred’s Classic Album Editions Songbooks of the legendary recordings that defi ned and shaped rock and roll! Alfred’s Classic Album Editions Alfred’s Boston Michael Jackson Boston Thriller Titles: More Than a Feeling • Peace of Mind • Foreplay / Long Time • Rock & Roll Band • Titles: Baby Be Mine • Beat It • Billie Jean • The Girl Is Mine • Human Nature • The Lady in My Smokin’ • Hitch a Ride • Something About You • Let Me Take You Home Tonight. Life • P.Y.T. (Pretty Young Thing) • Thriller • Wanna Be Startin’ Somethin’ • Muscles. Authentic Guitar TAB ..............$19.95 00-27651 ____ Piano/Vocal/Chords ...............$16.95 00-25944 ____ UPC: 038081300658 ISBN-10: 0-7390-4557-1 ISBN-13: 978-0-7390-4557-2 UPC: 038081281803 ISBN-10: 0-7390-4257-2 ISBN-13: 978-0-7390-4257-1 Eagles Led Zeppelin Desperado Houses of the Holy Titles: Bitter Creek • Certain Kind of Fool • Chug All Night • Desperado • Desperado Part II • Titles: The Song Remains the Same • The Rain Song • Over the Hills and Far Away • The Doolin-Dalton • Doolin-Dalton Part II • Earlybird • Most of Us Are Sad • Nightingale • Out of Crunge • Dancing Days • D’Yer Mak’er • No Quarter • The Ocean. Control • Outlaw Man • Peaceful Easy Feeling • Saturday Night • Take It Easy • Take the Devil • Authentic Guitar TAB ..............$24.95 00-GF0524A ____ Tequila Sunrise • Train Leaves Here This Mornin’ • Tryin’ Twenty One • Witchy Woman. UPC: 038081305899 ISBN-10: 0-7390-4698-5 ISBN-13: 978-0-7390-4698-2 Piano/Vocal/Chords ...............$16.95 00-25945 ____ Led Zeppelin I UPC: 038081281810 ISBN-10: 0-7390-4258-0 ISBN-13: 978-0-7390-4258-8 Titles: Good Times Bad Times • Babe I’m Gonna Leave You • You Shook Me • Dazed and Hotel California Confused • Your Time Is Gonna Come • Black Mountain Side • Communication Breakdown • I Titles: Hotel California • New Kid in Town • Life in the Fast Lane • Wasted Time • Wasted Time Can’t Quit You Baby • How Many More Times.