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Until the End of the World Music Credits
(Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc. -
Dead Master's Beat Label & Distro October 2012 RELEASES
Dead Master's Beat Label & Distro October 2012 RELEASES: STAHLPLANET – Leviamaag Boxset || CD-R + DVD BOX // 14,90 € DMB001 | Origin: Germany | Time: 71:32 | Release: 2008 Dark and weird One-man-project from Thüringen. Ambient sounds from the world Leviamaag. Black box including: CD-R (74min) in metal-package, DVD incl. two clips, a hand-made booklet on transparent paper, poster, sticker and a button. Limited to 98 units! STURMKIND – W.i.i.L. || CD-R // 9,90 € DMB002 | Origin: Germany | Time: 44:40 | Release: 2009 W.i.i.L. is the shortcut for "Wilkommen im inneren Lichterland". CD-R in fantastic handmade gatefold cover. This version is limited to 98 copies. Re-release of the fifth album appeared in 2003. Originally published in a portfolio in an edition of 42 copies. In contrast to the previous work with BNV this album is calmer and more guitar-heavy. In comparing like with "Die Erinnerung wird lebendig begraben". Almost hypnotic Dark Folk / Neofolk. KNŒD – Mère Ravine Entelecheion || CD // 8,90 € DMB003 | Origin: Germany | Time: 74:00 | Release: 2009 A release of utmost polarity: Sudden extreme changes of sound and volume (and thus, in mood) meet pensive sonic mindscapes. The sounds of strings, reeds and membranes meet the harshness and/or ambience of electronic sounds. Music as harsh as pensive, as narrative as disrupt. If music is a vehicle for creating one's own world, here's a very versatile one! Ambient, Noise, Experimental, Chill Out. CATHAIN – Demo 2003 || CD-R // 3,90 € DMB004 | Origin: Germany | Time: 21:33 | Release: 2008 Since 2001 CATHAIN are visiting medieval markets, live roleplaying events, roleplaying conventions, historic events and private celebrations, spreading their “Enchanting Fantasy-Folk from worlds far away”. -
No Escape Music Credits
Music Composed by Graeme Revell Music Editor Dick Bernstein Assistant Music Editor Philip Tallman Music Recorded and Mixed at C. T. S. Studios, Wembley England Score Engineered and Mixed by Keith Grant Conductor and Orchestrator Tim Simonec Musicians Assembled by Nat Peck “Boogie Shoes” Written by Harry W. Casey and Richard Finch Published by Longitude Music Co. Performed by K. C. and the Sunshine Band Courtesy of Rhino Records, Inc. By Arrangement with Warner Special Products “Son of A Preacher Man” Written by John Hurley and Ronnie Wilkins Published by Tree Publishing Co., Inc. Performed by Dusty Springfield Courtesy of Atlantic Recording Corp. By Arrangement with Warner Special Products “Is Anybody Goin’ to San Antone” Written by Dave Kirby and Glenn Martin Published by Tree Publishing Co., Inc. Performed by Doug Sahm Courtesy of Atlantic Recording Corp. By Arrangement with Warner Special Products CD: A CD of the score was released by Varèse Sarabande in the US (VSD-5483) and in Germany (VSD-5483) in 1994: Music composed by Graeme Revell Album produced by Graeme Revell Executive album producer Robert Towsnon Orchestrations: Tim Simonec and Graeme Revell Sampling: Brian Williams Music editors: Dick Bernstein and Philip Tallman Scoring mixer: Keith Grant Orchestra conducted by Tim Simonec Orchestra contracted by Nat Peck 1. No Escape: Main Titles (1’58”) 2. Helicopter To Absolom (2’13”) 3. Robbins Captured By The Outsiders (1’52”) 4. Ralph: Director Of Aquatic Activities (0’48”) 5. The Father (1’55”) 6. The Insiders’ Camp (1’34”) 7. “Wet Dreams” (2’05”) 8. “I Love Those Boots” (Twelve-string guitar - Philip Tallman) (1’47”) 9. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Musique Et Immersion Spectatorielle Dans Les Scènes De Poursuite Des Films D’Action Du Cinéma Hollywoodien Contemporain Hubert Bolduc-Cloutier
Document généré le 24 sept. 2021 08:36 Revue musicale OICRM Musique et immersion spectatorielle dans les scènes de poursuite des films d’action du cinéma hollywoodien contemporain Hubert Bolduc-Cloutier Création musicale et sonore dans les blockbusters de Remote Control Résumé de l'article Volume 5, numéro 2, 2018 En tant qu’un des principaux types de scène des films d’action, la poursuite constitue un point culminant de la narrativité filmique au sein duquel la URI : https://id.erudit.org/iderudit/1054147ar réponse sensorielle du spectateur atteint son paroxysme. Afin de considérer DOI : https://doi.org/10.7202/1054147ar quels sont les agents musicosonores de l’immersion spectatorielle dans les scènes de poursuite du cinéma hollywoodien contemporain et la structure Aller au sommaire du numéro rhétorique de ce type de scène, cet article propose une approche au carrefour des recherches sur l’immersion spectatorielle au cinéma (Barker), l’immersion dans les musiques de jeux vidéo (Grimshaw, Calleja), de même que la création musicale dans le cadre de l’Electronic Dance Music (Butler). Les Éditeur(s) caractéristiques musicales récurrentes et prégnantes sont ici soulignées pour Observatoire interdisciplinaire de création et recherche en musique (OICRM) tracer le portrait de l’esthétique sonore des scènes de poursuite réalisées par les compositeurs affiliés à Remote Control. ISSN 2368-7061 (numérique) Découvrir la revue Citer cet article Bolduc-Cloutier, H. (2018). Musique et immersion spectatorielle dans les scènes de poursuite des films d’action du cinéma hollywoodien contemporain. Revue musicale OICRM, 5(2), 48–78. https://doi.org/10.7202/1054147ar Tous droits réservés © Revue musicale OICRM, 2018 Ce document est protégé par la loi sur le droit d’auteur. -
A Journal of the Radical Gothic
issue #1 gracelessa journal of the radical gothic And the ground we walk is sacred And every object lives And every word we speak Will punish or forgive And the light inside your body Will shine through history Set fire to every prison Set every dead man free “The Sound Of Freedom” Swans cover photograph by Holger Karas GRACELESS Issue one, published in February 2011 Contributors and Editors: Libby Bulloff (www.exoskeletoncabaret. com), Kathleen Chausse, Jenly, Enola Dismay, Johann Elser, Holger Karas (www. seventh-sin.de), Margaret Killjoy (www. birdsbeforethestorm.net). Graceless can be contacted at: www.graceless.info [email protected] This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to: Creative Commons 171 Second Street, Suite 300 San Francisco, California, 94105 USA What this license means is that you are free (and encouraged) to take any content from Graceless and re-use it in part or whole, or make your own work that incorporates ours, as long as you: attribute the creator of the work, share the work with the same license, and are using the product non-commercially. Note that there is a photograph that is marked as copyright to its creator, which was used with permission and may not be included in derivative works. We have chosen a Creative Commons licensing because we believe in free cultural exchange but intend to limit the power of capitalism to co-opt our work for its twisted ends. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
Tadlow Music News Winter 2010
TADLOW MUSIC NEWS www.tadlowmusic.com WINTER 2010 NEW CD RELEASES FROM TADLOW MUSIC TADLOW MUSIC The Complete Recording Package for the Film, Television, Video Game and Recording LION OF THE DESERT Industry in LONDON + PRAGUE + EUROPE THE MESSAGE Music Composed and PRAGUE NEWS Conducted by MAURICE JARRE PRAGUE NEWS SMECKY MUSIC STUDIO 2 CD Set featuring the Oscar nominated Despite rumours to the opposite Prague’s famous Smecky Studios has not been sold score from the epic film and the future of the building is now looks secure. So SMS is still very much at the THE MESSAGE starring forefront of music recording in Europe – with an even greater influence being made Anthony Quinn. (Remastered from the on the running of the studio by both the management of the City of Prague Philharmonic original album master tapes) plus the Orchestra and Tadlow Music. complete score (including source cues and ethnic music) from LION OF THE Recent additions to the studio include brand new percussion section instruments DESERT, another epic directed by including Timpani, Glock, Marimba, Xylophone, Sonor Drum Kit, Gran Cassa, Moustapha Akkaad starring Anthony Tubular Bells. Also the control room has been recently up-dated with the addition of Quiin, Oliver Reed, Rod Steiger, Irene Pro Tools 8, Mac Pro. Papas and John Gielgud. Remixed and The studio now has remastered from the 24 track session tapes. • New Millennia Pre- Amps • One of the Finest Selections of Orchestral Microphones in Europe Music performed by THE ROYAL PHILHARMONIC ORCHESTRA and • Brand New Percussion Instruments THE LONDON SYMPHONY ORCHESTRA and CHORUS. -
Invention Reinvention Final
City Research Online City, University of London Institutional Repository Citation: Mera, M. (2009). Invention/Re-invention. Music, Sound and the Moving Image, 3(1), pp. 1-20. doi: 10.3828/msmi.3.1.1 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4007/ Link to published version: http://dx.doi.org/10.3828/msmi.3.1.1 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Invention/Re-invention Miguel Mera Here we go again … In her seminal essays ‘The Bounded Text’ and ‘Word, Dialogue and Novel’ Julia Kristeva coined the term intertextuality to describe the notion that every text is constructed as a ‘mosaic of quotations’ and is the ‘absorption and transformation of another’ (1980a: 66). She referred to texts in terms of two axes: a horizontal axis connecting the author and reader, and a vertical axis connecting the text to other texts (1980a: 69). -
Tadlow Music News Autumn 2010
TADLOW MUSIC NEWS www.tadlowmusic.com AUTUMN 2010 NEW CD RELEASES FROM TADLOW MUSIC PRAGUE NEWS SMECKY MUSIC STUDIO LAWRENCE OF ARABIA MAURICE JARRE Despite rumours to the opposite Prague’s world famous SMECKY MUSIC STUDIOS has not been sold and the future of the studio looks secure, especially as in March 2010 At last the World Premiere Recording the day to day running of the studio is now controlled by the City of Prague Philharmonic of Maurice Jarre’s Finest Score using Orchestra management team, led by Josef Pokluda, in association with Tadlow Music. the original Gerard Schurmann orchestras. The studio has since then undergone something of a facelift plus new recording Featuring a 100 piece orchestra with equipment and brand new percussion instruments have been purchased. 11 percussionists, 2 pianos, 2 harps, cithare and 3 Ondes Martenot The studio now has: The award winning City of Prague * 48 Track Pro Tools 8. Mac Pro Philharmonic Orchestra Conducted * 4 Banks of Millenia Pre-Amps by Nic Raine * One of the Finest Selections of Orchestral Recording Microphones in Europe * Is Equipped with all Standard Orchestral Percussion, 2 Petroff Grand Pianos, Produced by James Fitzpatrick, 1 Harpsichord, 1 Celeste, 1 Harp for use without any extra charge Recorded by Jan Holzner, Mixed by * Full Source Connect Pro and Live for the very popular Remote Recording Gareth Williams Also includes Jarre music from DEAD POET’S SOCIETY, RYAN’S DAUGHTER, CIMMARRON STRIP, THE MAGICIAN OF LUBLIN, MOON OVER PARADOR, FIREFOX, RESURRECTION and many more 2010 RECORDING NEWS 2CD: TADLOW 012 (Sept 2010 Release) with The City of Prague Philharmonic Orchestra and Chorus Regular Prague visitor from Colorado, Conductor Randy Sapp and his team recorded ".....the City of Prague Philharmonic have seldom, if at all, performed better. -
Santiago, Soundtrack De Un Mundo Oscuro
UNIVERSIDAD DE CHILE Instituto de la Comunicación e Imagen Escuela de Periodismo SANTIAGO, SOUNDTRACK DE UN MUNDO OSCURO Memoria para obtener el Título de Periodista CAROLINA MUÑOZ SALINAS Profesor Guía: José Miguel Labrín Elgueta Santiago de Chile 2012 Agradecimientos: A mis padres, por permitirme estudiar esta bella carrera y confiar en mis capacidades. A mi madre, Blanca Salinas, por apoyarme en los momentos de mayor estrés y siempre estar ahí para darme un abrazo y decir “ánimo, tú puedes”, sin criticarme ni exigir nada más. A todas las bandas y entrevistados, sin ustedes nada de esto habría sido posible. Gracias por su amabilidad, por compartir conmigo sus vidas y por sobre todo, gracias por su música, que llena los escenarios y que da forma a este soundtrack que aquí presento. A José Miguel Labrín, por creer en este proyecto desde el comienzo y guiarme para que resultara de la mejor forma posible. Gracias por la paciencia y por permitirme escribir sobre lo que más me apasiona, sin intentar transformarlo en algo que no es. A Ximena Póo, por incentivar mi interés en el periodismo escrito y por comprobarme que en el periodismo “de verdad” sí hay lugar para temas alternativos, ligados a la cultura y el arte. Y el mayor agradecimiento que podría dar es para quien me acompañó durante más de la mitad de mi carrera y en todo el proceso de esta investigación. Alexander, gracias por tu enorme paciencia y amor, por compartir la pasión por la música y por tu apoyo incondicional. 2 ÍNDICE DE CONTENIDOS Página Prólogo............................................................................................................