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  • The Sound of Silence
    2 TheSound Sound of ofSilence Silence Lyrics: Paul Simon Music: Paul Simon Arrangement: Markus Detterbeck q = ÇIntro 100 *) B 9 p b S b j j 2 & b b c ∑ ∑ Œ ‰ Œ‰œ 4 Si> - lence, si- lence sounds, *) p A b 2 & b b c ∑ ∑ ŒŒ ‰j4 Si -- lence, si lence, si- lence sounds,œ *) > p T b > > 2 V b b c Œ Œ ∑ ‰ œ 4 Si-- lence, si lence, si- lence sounds,J *) p B ? > 2 bb c ∑ Œ Œ œ œ 4 b Si- lence, si- lence, whis- per sounds A Verse 1 5 B 9 Cm Cm B 9 b b p b 2 & b b 4 œ Œ c Œ Œ Œ siœ - lence.œ œ 1. Doo dooœ F b 2 Œ & b b 4 c œ œ œ œ œ siœ - lence.œ œ œ 1. Helœ -- lo,œ dark ness, my old friend, p b V b b 42 œ Œ c Œ œ œ œ Œ Œ œ si- lence. 1. Doo doo p ? 2 bbb 4 Œ œ c œ œ . œ Œ w of si- lence. 1. Doo 9 Bb Cm Cm b & b b Œ œ œ œ doo,w doo doo doo œ dooœ doo doo b j & b b ‰ j œ œ ‰ œœœ œ œ œ œ I’veœ comeœ toœ talkœ withœ you a - gain, be- cause a vi -- sion soft ly b œ j œ œ V b b w Œ ‰ œœœ œ œ doo, doo doo, be- cause a vi -- sion soft ly ? b w .
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    Filozofická fakulta Univerzity Palackého v Olomouci Katedra muzikologie Mgr. et Mgr. Václav Kramář Komparace pojetí hudebního díla v autorskoprávní a muzikologické oblasti reflexe; k aktuálním problémům a podobám hudebního plagiátu ve 20. století. Comparison of the Conception of Musical Work in the Copyright and Musicological Area of Reflection; About the Contemporary Problems and Forms of Plagiarism in Music in the 20th century Disertační práce Školitel: Doc. PhDr. Lenka Křupková, Ph. D. Olomouc 2012 Prohlašuji, že jsem tuto práci vypracoval samostatně a použil jen uvedené prameny a literaturu. V Chrudimi 24. 12. 2012 ............................................ Václav Kramář Děkuji Doc. PhDr. Lence Křupkové, Ph. D., své školitelce v doktorském studiu, za trpělivost a rady při vzniku této práce. Poděkování patří rovněž Antonínu Foltýnovi, BcA. Veronice Chlebkové, MgA. Marku Keprtovi, Ph. D., Mgr. Zdeňce Myškové, Mgr. Martinu Thorovskému, Petru Turoňovi, Mgr. Mileně Vašíčkové a celé mé rodině. Obsah1 Obsah ...................................................................................................................................... 4 Úvod ........................................................................................................................................ 6 Stav bádání a pojetí naší reflexe ......................................................................................... 12 1 Terminologické vymezení hudebního díla..................................................................... 21 1.1 K obecným definicím
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  • Educators Managing and Reproducing
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  • “Sounds of Silence”--Simon and Garfunkel (1966) Added to the National Registry: 2012 Essay by Daniel Levitin (Guest Post)*
    “Sounds of Silence”--Simon and Garfunkel (1966) Added to the National Registry: 2012 Essay by Daniel Levitin (guest post)* Album cover Label Simon and Garfunkel “Sounds of Silence” is the second studio album by Simon and Garfunkel, and it weaves together threads of their earlier studio album “Wednesday Morning, 3 A.M.” with Paul Simon's first solo album “The Paul Simon Songbook.” The album was released on January 17, 1966, with recording taking place in 1964 and 1965, years during which the United States was beginning to see growing distrust of government and conventional authority. Young people and members of the counterculture saw in a new breed of singer-songwriter role models, truth-tellers and prophets, and they hung on every word. In the years following this release, Paul Simon became one of the most inventive and highly regarded songwriters of the last 60 years, with a truly international following. But the inclusion of this record in the Library of Congress' National Registry was not because its author became the Paul Simon we know from “Bridge Over Troubled Water,” “Graceland,” or “Stranger to Stranger,” but because it stands on its own. If Simon and Garfunkel had never made another record, this album would still hold a privileged place in our national hearts and minds. To say that it captured a moment is too pat and too cliché--it captured a generation, it gave voice to the bubbling cauldron of anger, suspicion, loneliness (:in restless dreams I walk alone”) and disconnection (“I am a rock, I am an island”) felt by what would become known as the Woodstock generation.
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  • 8Yes Of'blue, Cars Of
    THE NEW REPUBLIC ' He concentrates on the interpretation MUSIC of natural rights and of human nature offered by the radical dissenters of the late i8th century: Price, Priestly, Paine, Wilkes, Burgh and others. These 8yes of'Blue, Cars of Tin men and their 19th-century heirs were not satisfied with the environ- mentalism that prudent readers of Now that reviews of Rock music have expression of deep feelings. But if Locke, from the Commonwealthmen been instituted by the New York Rock songs are to be justified as adult of the 1720's to the Jeffersonians of the Times, the New Yorker, High Fidelity as well as adolescent art, it cannot a77o's, found in the Essay on Human and Hi Fi Stereo Review, those of us be because of their ideas. Compared Understanding. They preferred the who have been bred on Bach, Mahler with the usual vapid chatter of pop psychological assumptions of the Sec- and Bartok and who like the best of songs. Rock lyrics are often poetically ond Treatise, which implied that men Rock must express our dissatisfaction. sensitive and reveal inspiration. The were born with moral ideas and the For the most part, the reviews of Rock writers have read plenty of good politics of the religious republicans of LP's are written by under thirty "seni- poetry and the effects are evident. But the English Civil War. From these boppers" who accurately reflect the ap- the poetic and emotional materials of sources they developed a version of peal of the music to the college and the lyrics to "A Day in the Life" or "The Sounds of Silence," however natural rights that held that the higher bop crowd, but who share one remark- superior for pop music, are not seri- law was accessible to the intuitions of able shortcoming: they almost never ously to be thought of as in the same ordinary men - and that in government discuss the music, only the "poetry" or league with, say, Auden's "Petition": as well as in society equality must the ideas.
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  • Talking Race in Music Education
    Action, Criticism, and Theory for Music Education Electronic Article 132 ________________________________________________________________________________________ The Sounds of Silence: Talking Race in Music Education Deborah Bradley University of Wisconsin-Madison Raciology: the lore that brings the virtual realities of “race” to dismal and destructive life Gilroy 2000 (p. 11) Introduction: Social Justice or Colonialism Although general education has focused attention in this direction for some time, it seems that the concept of social justice may finally have become a topic of widespread interest within music education, signaled by the International Conference on Music Education, Equity, and Social Justice held in October 2006 at Teacher’s College, Columbia University in New York City. I say “finally” because the concerns are not new. Issues of social justice have lurked in the academic margins of music education for quite some time. Nearly two decades have passed since Roberta Lamb and Julia Koza brought feminist critiques of music education philosophy and practice into its discourse. The concerns they raised about gender bias in choral (Koza 1993a, 1993b), instrumental and general music education settings (Koza 1992; Lamb 1994a; Lamb 1987) and feminist critiques of music education philosophy (Gould 1994; Koza 1994a, 1994b; Lamb 1994b; Lamb 1996; Morton 1994) motivated me to think more deeply about what it means to teach music. The issues raised in their work, as well as an increasing understanding of music’s sociality (Bowman 1994a, 1994b) piqued the curiosity that eventually became my scholarly focus on issues of multiculturalism and racial politics. The reasons for my turn toward anti-racism as a discursive lens for analysis will be addressed later in this paper, but my use of this lens is by no means a rejection of feminist ideals.
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  • MUSC 424 S&G Syllabus
    MUSC 424 Iconic Figures of Popular Music: Simon and Garfunkel Fall 2018 Course no. MUSC 424 Section no. 47228 Units: 2 Time: Mondays 10:00-11:50pm Room: KDC 241 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: MW 9 – 9:50 am; 12 – 1 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] The Premise Singer-songwriter Paul Simon and singer Art Garfunkel called themselves Tom and Jerry in 1957. They had a minor hit called “Hey Schoolgirl,” but they hardly considered themselves successful. Wonder of wonders, they emerged again in 1965 with a profoundly thought-provoking song called “Sounds of Silence.” Their music was further propelled by the inclusion of the song “Mrs. Robinson” in the classic Mike Nichols- directed film The Graduate. During the next few years they won many distinguishing awards. For example in 1971 their album Bridge Over Troubled Waters won the Record of the Year, Album of the Year, Song of the Year, Best Contemporary Song, Best Instrumental Arrangement Accompanying Vocalist(s), Best Engineered Recording, and Best Contemporary Vocal Group Grammy Awards. In 1990 they were inducted into the Rock and Roll Hall of Fame, and in 2004 received the prestigious Grammy Lifetime Achievement Award. Truly this duet is one of the most remembered acts of the 1960s, and their music is certainly worth examination. Course Goal In this seminar we will scrutinize the output of this talented but turbulent duo from the standpoint of lyrics, musical style, philosophy, instrumentation, performance, and production. Students will be assigned specific songs to research in all these areas and prepare presentations based on their findings.
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  • Metaphysical Review 6
    * THE METAPHYSICAL REVIEW SIX OOOOOOOOOOOOOOOOOOOOOOOOOQOOOOOO Welcome to the members of APA-45 who have joined the gallant band of people who actually read this magazine every four months or so. If you don't belong to ANZAPA or APA-45, and you have received this document through the mail, then you should write a letter of comment, or you will not receive another METREV. * And who, where, perpetrates this . ' criminal magazine? It's BRUCE R GILLESPIE, of GPO BOX 5195AA, MELBOURNE, VICTORIA 3001, AUSTRALIA. In here there's stuff by me (page 2), Alex Robb / (page 7), and letter writers (p 23).- Good clean rubbish, dedi­ cated to AUSTRALIA IN 75J THIS IS iA SOB by b*r*g i As I was paying to Colin Bennett the other day.... i Well, that's always a good line with which to break into a conversation. And I only spoke to him for five minutes about an article I'm doing on early Australian films (yes, we had a film industry before 1930). Yet it's something iof revelation that Colin Bennett, film critic for THE AGE newspaper, and some ^ort of hero to me for many years, has his own little desk on the huge floor that is THE AGE's Features department, and that he works regular hours, just like the rest of us (regular hours from 5pm - 10pm, that is), and that He helps a lot of small and struggling film societies and amateur film makeis, as well as taking up the cudgels / the huge issues that still plague the film industry in Australia.
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  • The Challenges to Copyright of John Cage's 4'33
    City Research Online City, University of London Institutional Repository Citation: Seymour, D. (2013). This is the Piece that Everyone Here Has Come to Experience: The Challenges to Copyright of John Cage’s 4’33”. Legal Studies, 33(4), pp. 532-548. doi: 10.1111/j.1748-121X.2012.00262.x 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/6821/ Link to published version: http://dx.doi.org/10.1111/j.1748-121X.2012.00262.x 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] 1 David M. Seymour School of Law Lancaster University Lancaster LA1 4AY [email protected] Title This is the Piece that Everyone Here Has Come to Experience[1]: The Challenges to Copyright of John Cage’s 4’33” Abstract Framed within the broader context of law’s engagement with modernism, this essay offers an argument in defence of copyright protection of John Cage’s ‘4’33” as a ‘musical work’ under the Copyright, Designs and Patents Act 1988.
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