Hifi/Stereo Review December 1962
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The Top 87 of 2019!
THE TOP 87 OF 2019! Rank Artist Title Label 1 CAMEL PHAT/CRISTOPH BREATHE (ft. Jem Cooke) Arista 2 MAHALO & DL/LILY DENNING SO COLD Perfect Havoc 3 GRYFFIN REMEMBER (f. ZOHARA) Geffen 4 CHAINSMOKERS/ILLENIUM TAKEAWAY (f. Lennon Stella) Disruptor/Columbia 5 NOTD/FELIX JAEHN SO CLOSE (f. Georgia Ku & Capt. Cuts) Island/Republic 6 JAX JONES/MARTIN SOLVEIG ALL DAY AND NIGHT (f. Madison Beer) Interscope 7 ARMIN VAN B/ABOVE & BEYOND SHOW ME LOVE Armind 8 ARIANA GRANDE THANK U, NEXT Republic 9 LODATO HOME Overdrive 10 HALSEY WITHOUT ME Capitol 11 CHEAT CODES/DANIEL BLUME WHO'S GOT YOUR LOVE 300 Ent. 12 PHANTOMS DESIGNS FOR YOU Casablanca/Republic 13 SILK CITY/DIPLO/ MARK RONSON ELECTRICITY (f. Dua Lipa) Columbia 14 KYGO/WHITNEY HOUSTON HIGHER LOVE RCA 15 KHALID TALK RCA 16 D-SOL/KATT ROCKELL FEEL ALIVE Pay Back/Big Beat 17 MADEON ALL MY FRIENDS Columbia 18 KYGO/VALERIE BROUSSARD THINK ABOUT YOU RCA 19 MARTIN GARR/MATISSE & SADKO MISTAKEN (f. Alex Aris) RCA 20 GRYFFIN/SLANDER ALL YOU NEED TO KNOW Darkroom/Geffen 21 KHALID BETTER RCA 22 STEVE AOKI/BTS WASTE IT ON ME Ultra 23 AVICII HEAVEN Avicii Music/AB/Geffen 24 LIL NAS X OLD TOWN ROAD Columbia 25 DAVID GUETT/MARTIN SOLVEIG THING FOR YOU Warner/FFRR 26 FLORA CASH YOU'RE SOMEBODY ELSE Bee & E/RCA 27 AVICII/ALOE BLACC S.O.S. Geffen/Interscope 28 DOM DOLLA TAKE IT Sweat It Out 29 ARTY SAVE ME TONIGHT Armada 30 BENNY BLANC/CALVIN HARRIS I FOUND YOU Interscope 31 DALLASK/NICKY ROMERO SOMETIMES (f. -
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
Benjamin Bierman, Ph.D. [email protected]
Benjamin Bierman, Ph.D. [email protected] www.benbierman.com Teaching Associate Professor, Department of Art and Music, John Jay College of Criminal Justice, City University of New York (2009-present) Recipient, 2016 Faculty Scholarship Excellence Award Substitute Assistant Professor Conservatory of Music, Brooklyn College, CUNY (2006–2007) Graduate and undergraduate theory, composition, ear training, 20th-century analysis, jazz analysis, Graduate Deputy (administrative responsibilities include advisement of all graduate students, curriculum development, preparation of comprehensive exam, etc.) Substitute Instructor Queensborough Community College, CUNY (2005–2006) Musicianship, Intermediate Piano, Introduction to Music, Introduction to Jazz Adjunct Asst. Prof. and lecturer positions (2007-2009): Brooklyn College: Composition tutorials, Linear Analysis and 20th-Century Analysis Master’s seminars, Theory, Ear Training; The New School of Jazz and Contemporary Music: History of Western Music; Boston University: online course development and instruction: Jazz Arranging, Theory/Analysis, Orchestration, History of the Blues. Baruch College: History of Electronic Music, American Popular Song Publishing “Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives (January 2016). Peer-review journal. Listening to Jazz (Oxford University Press, 2015). “Duke Ellington’s Legacy and Influence.” Cambridge Companion to Duke Ellington (Cambridge University Press, 2014). “Solidarity Forever: Music and the Labor Movement in the United States.” The Routledge History of Social Protest in Popular Music (Routledge Press, June 2013). “Progressive Jazz.” The Encyclopedia of Popular Music of the World (Continuum, 2012). “Unlocking the Mysteries of the Second Miles Davis Quintet.” Journal of Jazz Studies, Vol. 7, No. 2, pp. 258-265 (Fall 2011). Review; Peer-review journal. “Appreciating the Mix: Teaching Music Listening through Sound-Mixing Techniques.” Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube (Scarecrow Press, 2010). -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development. -
Cash Box , Music Page 59 November 21, 1959
3 21 6 ——/ — — — 8 —— —B— — — — —— — The Cash Box , Music Page 59 November 21, 1959 MONAURAL Beethoven: Symphony No. 3 In E Flat Brahms: Symphony No. 3—Hamburg State Mozart: Symphonies, I Major (Erioca) Vol. — Philhar- CLASSICAL —The Royal Danish Philharmonic Orch., Joseph Keilberth monic Symphony Orch. of London, cond. Orchestra cond. by George Hurst TC 8009 F-70017 by Erich Leinsdorf—XWN 18861 Beethoven: Symphony No. 8 Hamburg Mozart: Beethoven: — Symphonies, Vol. II — Philhar- COLUMBIA: Symphony No. 6 (Pastorale) State Philharmonic Orch., Joseph Keil- monic Symphony Orch. of London, cond The Royal Danish Orchestra cond. by "Beethoven":— Concerto In D Major For berth/Schubert: Symphony No. 8 (Un- by Erich Leinsdorf George Hurst— F-7001 —XWN 18862 Violin And finished) The Orchestra, Op. 61 Isaac — Bamberg Symphony Stravinsky: Canticum Sacrum ad Hon- Stern, Violin, Orch., Joseph New York Philharmonic, Keilberth—TC 8010 orem Sancti Marci Nominis/Variations Leonard Rimsky-Korsakov : Bernstein, Conductor — ML HARMONY: Scheherazade — Sym- on The Choracle "Vom Himmel Hoch/ 5415 phony Orch. of the Belgian National Symphonies For Wind Instruments/ "Tchaikovsky": Swan Lake— Ballet Suite, Radio, Franz — Andre TC 8011 Giovanni Gaprilei: Canzoni From The Op. 20a/Sleeping Beauty Ballet Suite, "French Overtures"—Symphony Orch. of "Symphoniae Sacrae": Canzone III, DECCA: Op. 66a—Rome Opera Orchestra, Wal- the Belgian National Radio — Franz An- Canzone V—Orchestras cond. by Ru- ter Goehr, Conductor HL 7219 dre—TC 8016 Tartini: Violin Sonata In G Minor — dolf Albert and Robert Craft, Elizabeth ("Devil's Trill")/Violin Sonata in G Waltzes Of Johann Strauss"—The Bam- Brasseur Chorale—XWN 18903 Minor ("Didone Abbandonata")/Vi- MERCURY: berg Symphony Orch., Joseph Keilberth Webern: Symphony, Op. -
Widening Cultural Horizons Through the Performing *Children
DOCUMENT RESUME ED 051 247 TE 002 476 TITLE Widening Cultural Horizons Through the Performing Arts. Annual Report. INSTITUTION Merced County Schoolr, Calif. PUB DATE Aug 69 NOTE 177p. EERS PRICE EDRS Price MF -1O.65 HC-$6-58 DESCRIPTORS *Children, *Elementary School Students, *Rural Schools, *Secondary School Students, 4heater Arts IDENTIFIERS *Elementary Secondary Education Act Title III ABSTRACT A proposel to present to all the students of a rural county, live performance in music, ballet, drama and opera will support an existing project. Although planned for all elementary and secondary students, very young children are given special consideration in a small audience situation, where they can near, see, and talk qith the artists. Three performances a year for all grades will be given by professional groups, students from the creativ.: arts departments of colleges and universities, and local artists. Included are presentations by ethnic groups.(Author/CK) DIPAP11.1011 Of H:CIH ED1.1011',14 S 0.1,11P1 Oif!CE Of iDLICV 01 THIS DO(LHP,T frS BEEN PEPPODUCtO flaCILY dS PffilYID FPO THE PIPSOP ORICilq, PO PIS Of Y or CP OPIAIOPS SITED DO 41Oi OECISAPIPY REPRESENT Off CiAE :MCI Or mud' OF P031101 OP POI.,CY WIDENING CULTURAL HORIZONS THROUGH THE PERFORMING ARTS ELEMENTARY AND SECONDARY EDUCATION ACT, TITLE Ill Project No. 67-04421-0 MERCED COUNTY SCHOOLS OFFICE Merced, California Floyd A. Schelby Superintendent Lois M. Bigelow Project Director Annual Repvrt August, 1969 2 TABLE OF CONTENTS PROJECT ABSTRACT 5 PARTICIPATING SCHCOLS 7 PROJECT COSTS 8 STATISTICAL DATA PROJECT SUMMARY 10 PROGRAM NOTE EXCERPT'S FOR PERFORMING GRCUPS Ballet 15 Ethnic Grcups 29 Instrumental Music 59 Joy, 81 Opera 93 Theatre 119 Vocal Music 153 EVALUATION REPORT 163 3 Cover design: Mr. -
Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
Baltimore Symphony Presents Music Director Lyric Theatre Thursday, January 25, 1962 a beautiful chapeau custom made from your own materials Bring us material matching your favorite costume ... or some bits of fur that match your coat and let our expert copyists recreate the silhouette of your selection from new, inspiring fashions in our millinery salon. Perhaps you have an old hat that's so becoming you can't part with it, bring it in along with the material . we'll copy it for you with sheer artistry. H-K Millinery Salon, Second Floor, Downtown THE BALTIMORE SYMPHONY ORCHESTRA ASSOCIATION, INC. Officers and Executive Committee Mr. John D. Wright, President Mr. William Boucher, III, Vice President Mr. Carroll S. Jackson, Secretary Mrs. Henry A. Rosenberg, Vice President Mr. W. Cameron Slack, Treasurer Mr. Carlyle Barton, Jr., Counsel Dr. C. Bernard Brack Mr. James M. Easter Mr. S. Raymond Machen Advisory Committee Mr. J, Theodore Wolfe, Chairman Mr. Jerold C. Hoffberger Mr. Charles S. Garland Mr. Robert H. Levi Mr. James M. Hepbron Mr. John E. Motz Mr. Robert B. Hobbs Board of Directors Mr. Robert Alexander Mr. James Easter Mr. Lester Levy Mrs. Angela Bambace Mr. Francis Stuart Filbey Mr. S. Raymond Machen Dr. Edgar F. Berman Mr. L. McLane Fisher Mr. J. Jefferson Miller Mr. Jacob Blaustein Honorable Louis Goldstein Mrs. Stanley Mossman Mr. William Boucher, III Mr. Edwin K. Gontrum Mr. Berthold Muecke, Jr. Dr. C. Bernard Brack Mr. Louis J. Grasmick Mrs. Henry A. Rosenberg Mr. Glenn C. Bramble Mr. Herman L. Gruehn Mr. Albert Sklar Mr. Thomas S. -
D Avid B Ernard C Onductor
D A V I D B ERNARD C ONDUCTOR 875 FIFTH AVENUE, NEW YORK, NEW YORK 10065 PHONE: (212) 794-6402 FAX: (877) 219-1434 [email protected] David Bernard, Conductor Page 2 TABLE OF CONTENTS BIOGRAPHY ............................................................................................................................................... 3 CRITICAL ACCLAIM ................................................................................................................................ 4 TESTIMONIALS ......................................................................................................................................... 6 CURRICULUM VITAE .............................................................................................................................. 9 CONCERT PROGRAMS ...........................................................................................................................16 REFERENCES ............................................................................................................................................11 875 Fifth Avenue, 8D ● New York, New York 10065 ● (212) 794-6402 ● [email protected] David Bernard, Conductor Page 3 BIOGRAPHY First Prize Winner of The American Prize in Orchestral Performance, 2011, David Bernard‘s conducting is described by critics as bringing ―clarity and a sense of spontaneity― to ―polished, stellar and riveting performances.‖ Bernard has performed in more than twenty countries on four continents. His performances have been featured -
To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibli
CC:DA/MLA/2002/2 August 22, 2002 page 1 To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibliographic Control Committee Subcommittee on Descriptive Cataloging Re: 4JSC/CCC/6: Expanded response to 4JSC/CCC/6 & Rule revision proposal for 6.5B to include optional conventional term qualifiers The Subcommittee on Descriptive Cataloging and the Bibliographic Control Committee of the Music Library Association have given consideration to the CCC proposal to revise 6.5B1 to record the specific format of the physical carrier using conventional terminology as the base rule and the current instructions as the option. Our initial comments were presented in an earlier document. This is a slightly expanded version, which includes our response to 4JSC/CCC/6 and lays out our counter-proposal in its entirety. Part I: Response to 4JSC/CCC/6 MLA adamantly opposes the CCC proposal as it currently stands. While we agree there is a benefit in introducing the possibility of more flexible terminology in Area 5, we strongly disagree with the suggested revisions. Our main reasons, with short discussion, follow. 1. Lack of adequate justification for the rule change The chief reason for this proposal, consistency of rules across formats, is inadequate justification for the magnitude of the proposed change and its consequences. Changing the rules of one chapter (or more) simply to parallel the rules of a different, unrelated chapter is flawed reasoning in and of itself, much less sufficient grounds for such a major revision. If we were to follow this logic, we would also need to introduce a rule revision for Chapter 2, so that the physical description could state “1 book” or “1 duodecimo.” The further justifying statement that the “revision will allow for greater flexibility, the provision of more meaningful information for end-users and the accommodation of information pertaining to new and emerging formats” is only partially correct. -
Evaluation of Sound Quality of High Resolution Audio
Proceedings of the 1st IEEE/IIAE International Conference on Intelligent Systems and Image Processing 2013 Evaluation of Sound Quality of High Resolution Audio Naoto Kanetadaa,*, Ryuta Yamamotob, Mitsunori Mizumachi aKyushu Institute of Technology,1-1 Sensui-cho, Tobata-ku, Kitakyushu 804-8550, Japan bDigifusion Japan Co.,Ltd 1-1-68 Futabanosato Higashi-ku Hirosima,7320057 Japan *Corresponding Author: [email protected] Abstract 1. Introduction High resolution audio (HRA), which is recorded in the digital audio format with high sound quality, appears on the In recent years, high resolution audio (HRA), which is audio market. HRA has the quality equal to or better than sampled at 96 kHz or 192 kHz with 24 bits accuracy, is the standard compact disc (CD), and is distributed as the becoming popular in the audio market. HRA is super audio CD (SACD), DVD-audio, Blue-ray audio, and commercially distributed as the lossless encoded file via the a data file through the internet. In this paper, sound quality internet, and is also available in the Blu-ray audio disc. of HRA is investigated in the view point of auditory Compact disc (CD) and lossy compression such as MPEG perception. Perceptual characteristics of HRA have been Audio Layer-3 (MP3) are the current major audio formats examined by listening tests as compared with the standard as the storage medium and the data file, respectively. As a audio CD and the compressed MPEG audio layer-3 (MP3) memory capacity increases and a wide communication qualities. The listening tests were carried out by the method network spreads out, HRA must be increasingly popular. -
High-Fidelity-1959-A
by1I.:C. Robbins Landon;, www.americanradiohistory.com 8 the 9 seconds THE 9 SECONDS THAT ADD HOURS TO YOUR LISTENING PLEASURE listening it takes to put the Glaser- Steers GS -77 Every GS -77 feature contributes towards your 9 seconds - that's all rumble and flutter; uniform stylus through one complete change -cycle. 9 seconds - and see what pleasure - inaudible wow, first to top record on a stack ; resonance -free happens in that brief space of time. pressure from arm with minimum tracking error; four leads to cartridge A record completes its play ... the turntable pauses ... the for hum -free performance. next record drops, gently - more gently than if you were The GS -77 combines traditional turntable quality with mod- handling it yourself ... the tone arm lowers into the lead -in today. turntable resume its motion. ern record changer convenience. See it at your dealer, groove. Only then does the a fresh, new point -of -view on of your records is preserved In just 9 seconds, you'll gain Thus, the original brilliance record changers. $59.50 less base and cartridge. Write to: through hundreds of additional playings by eliminating the that occurs when records are dropped on a GLASER- STEERS CORPORATION, 155 Oraton St., Newark 4, N. J. grinding action N. Y. moving disc -a common drawback in conventional changers. In Canada: Alex I. Clark Ltd.. Toronto. Ont. Export: M. Simms & Sun. Inc.. C. EVER FOR MONOPHONIC RECORDS GLASER- STEERS GS -77 SUPERB FOR STEREO...BETTER THAN www.americanradiohistory.com THE COLUMBIA CP RECORD CLUB now enables ANYyou to acquire a STEREO RECORD SIX LIBRARY at a saving of 40% FOR ONLY 9 8 5 RETAIL VALUE STE R EÓ RECORDS UP TO $35.88 if you join the Club now - and agree to purchase as few as 5 selections from the more than 100 to be made available during the coming 12 months I JOHNNY MATHIS MARCHE SLAV Ella Fitzgerald DORIS DAY GRAND CANYON FLOwERDRUM SINGS I CAPRICCIO ITALIEN SURE SONG, RODGERS NIGHT ON AND ORIGINAL ,a:(9¿tER HART BROADWAY .,.- s7!1.